Someone once said to me, “Ask me what the first rule of comedy is.”
I began, “What’s the first rule of —”
“Timing,” he blurted out, right in my face.
It killed me.
This is the core of comedy — it’s not what you say, so much as when and how you say it.
The title of Aux Dog Theatre’s season opener “All in the Timing” could not be any more fitting.
Taking a cue from their canine mascot to increase the relevance of the dying state of theater, Aux Dog has even joined with the Animal Humane Society to add a fundraising edge to the production.
Aux Dog selected six of David Ives’ one-act plays to produce, each with a different director, all of whom are actors in the various scenes as well.
The great boon of one-acts is their brevity — if any begin to drag, at least they don’t drag for long. Luckily, even these moments are scarce in a show that is fast overall, funny and glowing with polish. Simply put, this is the best kind of community theater.
The unmoving set pieces are elegant and slick — massive steampunk gears that stick to the theme of comedic timing.
Nearly all of the actors appear in more than one scene, so you really get a sense of the comedic range of those involved.
The opening act has the distinction of being the show’s public image: three construction workers eating lunch
sitting on a girder 50 stories up — a rather iconic picture.
The snapping speed and killer timing really sets the precedent for the show as a whole. The subtlety of the scene is played phenomenally well with next to no movement — the actors are bound to their small area, selling the scene without it becoming uninteresting. David Wolf in particular does a great job.
The second scene sets the second precedent of the show — things can get crass. Not in a “Two Girls One Cup” gross-out kind of way, but there’s liberal swearing and sex jokes — nothing to really get offended by.
This, of course, didn’t stop a large family from getting up and stomping off in the middle of the scene with perfect timing themselves. It was so funny it seemed like part of the show at first.
Next was an inspired scene about two awkward mayflies meeting romantically, and the duo are assisted again by a scene-stealing David Wolf.
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The high concept of the sketch is something to be appreciated, and Chris Molony and Erin Slimak are delightful, armed with springy antennae and colanders for eyes.
The scene, however, inexplicably slows in the end as the rush and tension of mayflies’ 24-hour lifespan evaporates and they take time to nihilistically lament their wretched existence. It doesn’t ruin the scene by any means; it just doesn’t fit and isn’t very funny.
The next scene is, appropriately enough, rapid-fire parody of David Mamet, the expatriate modern playwright and director. Those unfamiliar with the man or his work won’t get
value out of all the jokes, but you will by no means be left in the dust, especially if you think profanity is funny, which you should.
The next scene involves more cursing and philosophy, but is splendidly executed. Much like the Aux Dog’s production of Woody Allen’s “God” last year, it involves two contemporary buffoons in togas philosophizing.
Justino Brokaw and Aaron DeYoung nail these parts to the wall. Their dynamic is effortless and hysterical, and they take the absurd wordplay and philosophy each in stride. This is truly the one act to beat.
Lastly, the offhanded musings turn political with the Russian author Leon Trotsky acting out final moments of his life with an ice axe smashed into his skull. It casually dangles from the back of his head. It’s best just to go with it.
This is largely because Brennan Foster is absolutely stellar as Trotsky. He may give the best performance of the show, but it is truly hard to pick favorites in such a varied and polished production.
Aux Dog Theatre has started off the year with a hell of a bang. You owe to yourself to see this show.
The puppies will thank you.
