- Title: All Messed Up & Nowhere To Go
- Written and performed by: Christian Smith, Coko Galore, Conor Bradbury, Devon Henderson, Scott Yamamura, Tiyawnda
- Director: Kyle Dooley
- Company: The Second City
- Venue: Second City Mainstage
- City: Toronto
- Year: Tickets on sale for performances up to Nov. 17
Critic’s Pick
On opening night for Second City’s latest mainstage sketch revue, All Messed Up & Nowhere To Go, Canadian improv icon Colin Mochrie toasted the new production. He even had a signature drink, the rum-based Colin Mochquiri. “The first five people who drink it,” he said, with a pause, “will have drunk it.”
He spoke about his theatre history and the fear of first nights. Once, before the curtain rose, a director told Mochrie, “I don’t know why you’re not funny in this.”
His short monologue done, he said he had no ending for his bit. Before the main show, two people came out to wipe up the stage – Mochrie had spilled some Mochquiri.
It was all a little awkward and a lot funny. Which, really, is what the lively and repeatedly hilarious show directed by Kyle Dooley is all about: the humour of uncomfortable moments.
So, one man literally jumps in front of another’s problematic question to a woman – “Are you pregnant?” – before she can receive the offending remark. As if taking a bullet for someone.
Three female friends leave their husbands alone with each other. Relative strangers, they have no idea what to say. One blurts out, “Sports.” Another, “Cars.” They laugh, and, just like that, they’re best friends.
A hungry man at an A&W restaurant orders a Baby Burger. How about a Foster Child Burger instead, he is asked. It’s underweight, there’s a surplus of them, and he’ll be paid to take it. He feels pressured and uncomfortable. He’s told an unwanted Foster Child Burger would turn bitter, alienated and, seeking validation, end up with a career in the performing arts. (The comedians in the crowd get the joke.)
A flatulence sketch was a gas. A wife explains to her aghast husband that she takes long walks just to relieve herself privately. It was a forbidden subject to talk about, but they’re glad they got it all out. In fact, the husband feels they’ve achieved such a comfort level with each other that she might even allow him to touch her hair now. (No way, she lets him know.)
The ensemble is strong – so strong that it would be agonizing for me to single out an individual cast member. But, as the revue is all about getting past delicate situations, I’ll say that Christian Smith is a real funny guy. His dad-and-kid car sketch with Conor Bradbury was impressive, both physically and technically.
Scott Yamamura’s Tupperware character was quite clever. He was a poignant lid without a container – a polypropylene version of the sad clown.
Henderson wasn’t uncomfortable at all singing about the white elephant in the room: She was the only pale woman in the cast. She said that back in the 1990s, Second City’s idea of diversity was casting a redhead. Speaking for the women of inherited wealth and Gilmore Girls fandom, she declared herself a hero and the “voice of the unheard.”
Top laugh, though, goes to Coko Galore, whose bossa nova-based imitation of a kitchen blender had the audience shaking with laughter. No doubt she makes a mean Colin Mochquiri.
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In the interest of consistency across all critics’ reviews, The Globe has eliminated its star-rating system in film and theatre to align with coverage of music, books, visual arts and dance. Instead, works of excellence will be noted with a critic’s pick designation across all coverage. (Television reviews, typically based on an incomplete season, are exempt.)
Editor’s note: A previous version of this article incorrectly stated that Devon Henderson is featured in the dad-and-kid car sketch. Conor Bradbury performs in that sketch. This version has been updated.