Wednesday, February 03, 2010

Review: You Can’t Keep a Good Pee-wee Down

As I get older and older, I’m finding a great deal of satisfaction in seeing the touchstones of my childhood receive some recognition from contemporary audiences. The recent Masters of the Universe art show at Gallery 1988 in Los Angeles is a good example. Then, last night, I went to Club Nokia to see the triumphant return of yet another childhood hero: Pee-wee Herman.

The Pee-wee Herman Show is a loving update of the classic stage show that catapulted Paul Reubens and his bizarre creation into fame and infamy. His rise in popularity coincided with my own developing sense of humor and interest in subversive comedy. Similarly, his fall from grace happened just as I was becoming cynical, disillusioned and distrustful of my beloved icons. His best-known work, Pee-wee’s Big Adventure, is still a glorious reminder of Reubens’ unique brand of physical comedy, facial ticks and irreverent timing. Walking into The Pee-wee Herman Show, however, I was bracing myself for the worst. What if Pee-wee had become a dated, tired production that evoked more sadness than laughter?

I’m pleased to report that my fears were largely unfounded. The fact that Pee-wee’s act, a parody of 1950s kid show mentality, was dated to begin with helps a lot. Plus, while most people remember Pee-wee as a product of the 80s, there’s really nothing about him that’s specifically tied to the time period. In one hilarious scene in the show, Pee-wee decides to join the online revolution, but wheels out a huge, mid-century computer station to do it. It’s touches like this that make him a timeless character.

The crowd attending the show was a wild mix of L.A. hipsters, Gen X parents with their kids and devoted fans of all ages. The presence of children worried me, because I was expecting a more adult show, similar to his 1981 HBO special. I was quickly reminded, however, that Pee-wee’s “adult” material is all double entendre and winks to the audience. My other concern was that the crowd would be too cool to play along. This concern was also dismissed, as Pee-wee started the show by having the audience stand and join him in the Pledge of Allegiance. It was a great way to get the audience involved right away and place the show squarely in the territory of school-age hi-jinx and antics.

When the curtains opened and the lights came up on the Playhouse set, the audience went wild. To see the familiar colorful set with so many cool tricks, fixtures and features was a real thrill. As much as the audience cheered for the set and for Pee-wee himself, they went absolutely nuts over Chairry. (Was Chairry that popular? Clearly, she must have been.) Other familiar faces (and non-faces) include Conky, Magic Screen, Pterri, Clocky, Globey, the fish, the flowers, Randy and Mr. Knucklehead. New additions to the Playhouse include a dancing, miming bear named Bear and...ShamWow, which is exactly what its name implies. The human cast includes Reubens, of course, and original cast members Lynne Marie Stewart (Miss Yvonne), John Moody (Mailman Mike) and John Paragon (Jambi). Joining the original gang are newcomers Phil LaMarr (Cowboy Curtis), Jesse Garcia (Sergio the Handyman), Lori Alan (Chairry, Magic Screen), Josh Meyers (Firefighter, Conky), Drew Powell (Bear, Mr. Window) and Lance Roberts (King of Cartoons, Globey).

The story is a retelling of Pee-wee’s “I wish I could fly” plot, with some old and new gags mixed in. But really, no one was there because they wanted a complex plot. Everyone wanted to see Reubens as Pee-wee again, and he delivered. Trim and seemingly ageless, Reubens brought Pee-wee back to life with great energy and wit, but also just a little edge. This is post-scandal(s) Pee-wee, and it’s no longer possible to separate Reubens from his creation. I don’t think that’s a bad thing, though. Here is a performer who has been humiliated on an international level. I imagine it’s almost freeing in a way. After that kind of exposure (har har), how could his performance not be fearless and defiant. After all he’s experienced, what is there to lose? And that’s the kind of liberation that was apparent in his performance and the whole attitude of the show. Fun for fun’s sake. If that’s the Pee-wee legacy, then it’s a damn good one.

Technically, the show is sublime, with a clever use of both hi-tech and low-tech effects and puppetry. That, combined with the stellar cast of comedy pioneers and Reubens at his best, make for a wonderful 90-minute visit with an old friend.

The Pee-wee Herman Show runs through Sunday, February 7. Tickets are available through the evil Ticketmaster. If you miss the L.A. show, I’m sure the show will tour. There are already rumors of Vegas and New York shows. So stay tuned.