My Thoughts on "Titler's Oddville"

My buddy Ron & I went to Oddville the other night. We laughed a lot and were generally entertained throughout. While some subjects were on the edge and there was a load of profanity, the humor was witty and good-natured (IMO). The program was interspersed with moments of more straightforward musicality, but it's hard to even call these acts conventional or expected really. Others might have been shocked/uncomfortable by the content, but it was a great show.

I didn't expect to be juked on the start time like a rock show, but all was forgiven after got under way around 10:30pm. The Beehive's basement was brimming with fabulous people -- as well as my buddy and I -- and most moved over to gather 'round the stage.

A very masculine nun walked through the crowd to "man" a keyboard and rolls through an upbeat R&B tune as intermission music throughout the show.

When the curtains open, Titler welcomed the crowd with a few remarks then got behind the keys for a peppy little song for all the Christians called "Jesus Never Existed", whose lyrics are a reasonable atheist position aside from the jokes and the titular shot. At some point, our host was joined on a few more songs by the Bride And Groom String Section (violinist Angie Shyr and cellist Trevor Jarvis) who expertly made several appearances as the show went along. As they played The BeeGees' "I Started a Joke" (dedicated to Michael Richards, natch), I noticed two guys making out next to me and started to laugh to myself.

In between acts, the curtains would close and we'd see the original filmed Titler vignettes.

Raymond Bokhour came out with a hilarious song in an early-Jazz style about wearing women's clothes. Then his wife Christine joined for another ditty or two. (They're both Broadway actors, but they could easily be a musical comedy team.)

I'm not sure, but I think the next performer was found playing somewhere in Somerville. Charlie Moto, an older fellow in a white suit, sang a wonderfully gentle version of "Where Did Our Love Go".

Shane Mauss killed as far as I was concerned. His timing is unique, so the punchline hits about a clause or two later than most comedians. I think Ron and I laughed louder than everyone else, but we laugh loudly.

One of the special surpises was flamenco guitarist, Grigory Goryachev. His one piece enthralled everyone.

The magnificent Red Peters made his first appearance of the night (each time carrying a black poodle). We were treated to one of his most eloquent compositions where the majority of the lyrics are: "F.U.C.K. Y.O.U. B.L.O.W. M.E."

The Yo-Yo People performance centered around Rebecca Higby's hula-hoop routine that keeps adding more and more and MORE hoops. When I worked near Faneuil Hall, I loved to occasionally see their act.

Titler returned for envelope-pushing songs. (Around this point, my notes are skimpy.)

Raymond Bokhour and Christine Bokhour played a couple more songs with Raymond looking dapper in his fez.

The Yo-Yo People amazed with a yo-yo displayed into an very impressive crescendo.

Titler met Charlie Savage at a piano store in Stoughton, and he played beautiful original (w/ the Bride and Groom). Charlie looked like a relatively normal guy, but it was still a bit skewed by being sandwiched between The Yo-Yo People and Red Peters, who returned for a couple more ending with his classic, "Get the Fuck Out".

After the show, the audience could watch the pilot of "Carol" featuring Red Peters and Greg Roman. It was definitely "not ready for prime time" and much funnier than what Horatio Sanz ripped off on SNL.

Marilyn Manson was playing at The Orpheum that night, but the real subversive entertainment was in the South End. It was extra-ordinary.

Alas, I have no new picture...