I am assuming the majority of the audience was just like me last Thursday night and had witnessed the hilariously crude comedy of Bridget Everett on Inside Amy Schumer. A Comedy Central program, Inside Amy Schumer is one of those sketch shows that I have had to binge watch in recent weeks, for fear of committing pop-cultural suicide if I didn’t complete all three seasons. If it wasn’t Schumer’s sketch show where Everett’s name had become synonymous with the outrageous, then perhaps it was a small scene in the abominable film, Sex and the City (Everett was conversely fantastic) or perhaps it was the more recent box office sensation, Trainwreck.
Whatever the platform, I’m assuming that the majority of the audience had booked because they were Everett fans. As a result of my preconceived ideas about the sort of comedy that would be served up, it would be fair to say I had reasonably high expectations of her show, appropriately entitled, Pound It. I’m pleased to say that this New York City broad did not disappoint.
Despite those audience members that made an exit half way through the show, heads bowed and handbags firmly clutched to their side (prudes I say), I would argue that Pound It was fantastic and that the audience loved it. Bridget Everett was everything I had hoped for, she was rambunctious; bold; colourful; unapologetic and proud.
Her costumes (and elaborate costume changes) were a highlight as were the outrageous and witty song lyrics. I found myself singing her song What I gotta do (to get that d… in my mouth) not only in the ladies bathroom after the show (appropriate) but all the way home (inappropriate). Oh boy, Everett’s tunes are incredibly catchy.
Her physical comedy was excellent and her voice and ability to manipulate it, also impressive. I will say that there wasn’t a huge variety in the songs and as breasts were being thrust into suspecting audience member’s faces, I began to think that Aussie cabaret performer of a similar ilk, Yana Alana, delivers an even better act.
With that said, Everett’s audience interaction was superb, making herself (and indeed her various womanly body parts) accessible even to the cheap seats at the back. For all of these reasons, Pound It is a must see at this year’s Melbourne International Comedy Festival. The only criticism I would have would be both the acoustic qualities of the venue and Everett’s relationship with the microphone which meant that I missed a lot of the lyrics and some of her gags. This of course, could mean I am going deaf but post-show discussion with my buddy indicated a consensus- she was difficult to hear at times. This was a shame as I had found myself on the edge of my seat wanting more.
I’d have to say, my lasting impression of the show was that it was overwhelmingly refreshing. She made me feel proud to be a woman and encouraged me to adopt a more unapologetic attitude which is what this new wave of successful female comics are advocating (among other non-gender related sensibilities of course). I hold the sense of wellbeing and confidence that Everett instilled in me directly responsible for the evening’s subsequent bar-hopping that didn’t finish until 5am on Good Friday morning.
My only regret on the night was that I didn’t sit in the front row. At 30 years of age, I would have liked to have added motor boating Bridget Everett to my personal list of milestones achieved.
Next time, I guess.