Fever
Pitch
UCB's Paul Downs
scores big with solo character show.
By
Cristina Merrill / Jester correspondent
Photo by Seth Olenick
Paul Downs mixes hilarity with intensity in “The Paul Downs Syndrome,”
seen September 9 at the UCB Theatre. The show defines the title syndrome
as unrelated episodes of perversion suggesting a deranged mind. Deranged
indeed. Downs opens the show by reenacting his birth. Encased in a
stretchy, red sheet that showed his (presumably) naked body in
silhouette, Downs danced a routine that combined a variety of forms,
including interpretative and the can-can. From this piece, Downs
transitioned into another where he emerges dressed as a woman. Rocking a
long, blonde wig and sporting a country accent, Downs introduces himself
(herself?) as the veejay for MTV Europe, frequently interspersing the
opening monologue with the phrase “Hey guys!” These opening pieces of
the show were a sign of good things to come. Downs exhibited endless,
contagious energy throughout the show, not to mention superb command of
his material. This is no easy feat for a one-man act, but when you are
funny and versatile, it’s hard to flop.
Downs showed this versatility, and his willingness to push the envelope,
in a sketch that used voice-over narration as he played a deranged,
super spy-type who could decipher messages from babies. Wearing jeans
and a black tank top and holding a fake gun in one hand and a baby doll
in the other, Downs claimed that “babies hold the secrets to the world.
And I hold the secrets to babies.” Downs alternated between doing bodily
harm to the baby doll and cooing to it. Pushing the envelope further,
Downs ended the skit by making out with the baby doll (“the one baby he
couldn’t resist”).
Downs’ best character is a sexually deviant hip-hop star who wins a
“Cushball Award” from MTV Europe. Wearing a beanie, two pairs of
sunglasses (one covering his eyes, the other perched on his beanie) and
a black tank top strategically laced to show off chest hair, Downs’
character gives a long thank-you speech in which he talks about things
that keep his “juices flowing.” He says that he would love to make love
to his teenage fans (“no matter what your age”) and brags about his
“ability to maintain an erection for over one day.” He ends up
serenading a tall female audience member on stage and points out that
her height gave him more to love.
Downs took the multimedia route and interjected his performances with
overhead narration and a variety of videos, including two that featured
him with actresses Kristin Chenoweth and Vanessa Williams. Both ladies,
essentially, played themselves. Both duets drew laughs from the
audience, but the skit with Williams was especially well done and had
far better comedic timing. In this skit, Downs pitched script ideas to
Williams that involved different scenarios but all ended with him
holding her “naked, shivering body,” much to her confusion.
Downs’ versatility really came through when he played Mikey, a famous
and endearing child actor who is pushed to the brink of exhaustion by
his overbearing stage mother. His fame and fortune come at the heavy
expense of having an actual childhood. He was forced to perform take
after take, and became sadder with each one because he wanted to go out
and play. Finally, he burst into tears and told child viewers that if
they have a puppy, to “pet it because I bet it’s amazing.” He calmed
down eventually, and said he just wanted to go back to his hotel and
“have some sashimi.” While this skit provoked more sympathy than
laughter from the audience, Downs managed to accomplish something that
so many comedians strive for: the ability to make an audience laugh
while the character they play is in tears (Rita Wilson in “Sleepless in
Seattle” being the best example of this).
If
there is anyone who can make comedy intense and funny, it is Paul Downs.
He is versatile and willing to take risks. What’s more, he is a
developed performer who can carry the weight of an entire show. That
being said, he needs to stop playing child characters. While his
portrayal of an abused child star generated laughs, it was almost too
real to be funny (Michael Jackson, anyone?). Child actor issues aside,
Downs is clearly on the verge of something big, and it will be
interesting to see what he does next.
The Paul Downs Syndrome returns to the UCB Theatre on Thursday,
September 23. |