Word: comicalities
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...with Dick and Jane” more than your average Carrey flick. Alec Baldwin, Angie Harmon, and Richard Jenkins give memorable supporting performances, but the real standout here is the dazzling Leoni, who steals every scene as the straight (wo)man to the larger-than-life Carrey. Her comic timing is so in tune, she and Carrey are the perfect comic team. Leoni’s character, a desperate housewife trying to keep up appearances as her life falls apart, allows viewers to sympathize with Dick and Jane’s dilemma. The humor of the film lies...
...Improv comic, tour guide, former UC Rep, and snake tamer, Sam has little left to accomplish in his life except to be an associate for FM. He already runs a small country, and we hear he invented Facebook/Dormaid. We welcome the young man aboard, and don’t forget, for when you’re old—Teller is Steller...
When he broke into TV in the mid-1960s, on shows like Merv Griffin and Ed Sullivan, RICHARD PRYOR--who died last week of a heart attack at age 65--was a cute, rubber-faced young comic with a knack for physical comedy and a childlike sweetness; in one of his earliest bits, he impersonated a band of scared grade-schoolers performing Rumpelstiltskin. Within a few years, he had become America's most celebrated comic revolutionary. Frustrated with the safe material he was doing on TV and in nightclubs, he walked out on a gig in Vegas, moved to Berkeley...
...said of his self-immolation. "When you're on fire and running down the street, people get out of your way." Multiple sclerosis, diagnosed in 1985, all but silenced him in his later years. But his ruthless honesty and performing brilliance set a standard by which every comic since must be measured...
Similarly, Emilia (Anna M. Resnick ’09) remains the loyal servant and wife, yet she is so embittered by the abuse of her husband Iago, that her decision to betray her mistress (with whom she also spars to comic effect) can be interpreted as a desperate attempt to find acceptance and emotional warmth. The play even manages to give Bianca (Julia C.W. Chan ’05), more dimension than that of an innocent whore; here, she is painted a desperate idealist, capable of more passion than her one-dimensional exterior amiability in the original work would have...