LUCIDMEDIA

The play revolves around re-constructing Martin Short's life in a series of wild vignettes and absurd character sketches. When Short appears on stage he informs the audience that the play was going to be about his christmas parties, which harked back to the old days of Hollywood; but he decided to change his mind with the advice from one singing audience member. From here the show takes off, parodying celebrities and enforcing scenes with outrageous musical numbers provided by Hairspray song writing duo Scott Whittman and Marc Shaiman.  

Martin Short seems never to dull in his comedic impact. Although he says that he needs to do this show because he's running out of money, because he has lost integrity, and because he's becoming dated; none of these seem to apply to the 56 year old actor. When Martin is performing a solo skit re-enacting his childhood spent in his attic devising his own talk show, he switches from host to three guests with perfect time. Not only are his impersonations pitch-perfect - for example his Katharine Hepburn - but he never mistakes or falters his characters, even when juggling four at the same time. In his portrayals of others and in his frank confessions of his own life, Short comes off both enlivening and uproarious. 

The supporting cast of comedians does very well to stand up to Short's impenetrable humour as well. Although the supporting cast stands with only three main comedians, Brooks Ashmanskas, Mary Birdsong, and Nicole Paker, two others, Marc Shaiman and Capathia Jenkins, take to the stage for many numbers. The thing which always seems to remain on Short's agenda is the element of surprise, and when the musical numbers beginning on relatively normal premises then soon take a turn for the absurd, the element remains. It is also a surprise to enjoy the exceptional talents of actor Brooks Ashmanskas; especially as a choreographer on stilts wearing a white cowboy outfit in the skit "Step Brother De Jesus". Though some may have believed the show was focused on Short, the treat comes when the other comedians take to the stage and allow real spontaneous humor to begin.  

The set was also of notable degree. With an intent to be performed on Broadway (August 2nd), the show goes over the top in set design. The MS emblems pasted all around the icy lit stage become satirical reflections on the inflated egos of celebrities. Meanwhile, the vibrant colors, drawn backgrounds, and heavy use of lighting allow the strictly comical to resonate throughout the play. Sometimes the set is minimalist with only lighting effects conveying the scene, as in the clever snowball allegory. At other times the set is able to transport the viewer into the twisted mind of Short; as in the Jiminy Glick-starring hospital scene "I Came Just as Soon as I Heard".  

The direction allows the actors to flow naturally through sketches and scenes of absurdity. The play's director, Scott Whittman, allows the actors to breathe on stage and simply make the show fun. The choreography, by Christopher Gatelli, director of Silence! Silence of the Lambs, creates very simple and effective dance numbers. The music though, is what really stands out. One half of the duo, Marc Shaiman, composes high energy music while the other half, Scott Whittman, writes the lyrics that are sly and clever; as well as  vulgar and base, such as "Big Titties" sung by a chorus of three babies.  

What brings the show to a level of real enjoyment though is the way Martin Short is able to remain smart about his humor. Often the show is satirical and pokes fun at all kinds of celebrities, but also, it creates serious and strange moments; which don't slip in their quality of comedy. With the reputation he has garnered, Short is truly deserving of this musical. It is refreshing too, not to see him simply be alone up on stage giving a stand-up routine, because he is more than that; he is an actor, a manipulator of persona, a reflection of absurdity, a chameleon of comedy. If you have the chance to catch this musical, I wouldn't pass it up.