We're Very Proud and We Love You So Much


by Teddy Nicholas · August 13, 2014


We’re Very Proud and We Love You So Much as presented by the experimental comedy troupe His Majesty, the Baby comprises Monty Python-esque collages of sketch humor, lounge-singing, video interludes and investigations of Andy Kaufman-esque audience-performer relationships.

When the audience enters the space, we find an onstage band playing what I can only describe as college-basement-lounge music, and a projection screen center stage. When the lights dim, a man in a diaper speaking a British accent cries at the audience while another actor reassures the baby that this will all be over soon. Then a video of a bizarre song comprised of lyrics that are somewhat nonsensical and images of a CGI baby in a womb plays. Then we are treated to a series of sketches, or maybe they should be labeled as anti-sketches since all of these sketches seemed designed to fail. They include “Let’s Get Married,” where a game show host invites a man named Adam (Andrew Kahn) to discuss his views of marriage. Adam only believes that the Bible stipulates that a man named Adam and a woman named Eve are allowed to be married, and that everyone else whose name might be Steve and Susanna are not married in the biblical sense.

Then there’s a sketch in which a young man (John Griswold) sits with an older woman (Shon Arieh-Lerer in bad drag) named Pepsi Garbage, America’s Television, and they play a game in which the audience is asked to applaud to determine the outcome of events such as which one of these two will eat a pepper or kiss each other. Interestingly, during this section, the young man dares the Vegan actor Arieh-Lerer playing Pepsi Garbage to eat a piece of questionable meat and a seemingly genuine fight breaks out between the two in which their friendship is tested. This moment, with its breakout energy and the heightened dynamic between the people on stage, proved to be the most successful and engaging moment of the evening.

There are some rather strange songs performed by Nathan J. Campbell within the show but I cannot remember any of their lyrics nor could I tell you what purpose they served except as some kind of filler between one sketch and the other. During its final section, two members of the group play a father and son. The father claims to be a “cool sick daddy,” and requests that his son murder him. When the son refuses, the father sings a song that allows him the power to give birth to another son (Max Ritvo), and the audience is asked whether or not the newborn should murder the father. The audience applauds and then the first son yells at the audience and the show is over

 

 

 

 

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