COMEDY: The Vacant Lot
eye WEEKLY
eye WEEKLY December 15 1994
Toronto's arts newspaper .....free every Thursday
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COMEDY COMEDY
preview
THE VACANT LOT
Saturday, Dec. 17. The Rivoli, 332 Queen St. W. $10, 872-1111.
NO REST FOR THE FUNNY
The Vacant Lot prepare for their second season
and their first local gig since '93
by
ANDREW CLARK
Last August, they lost their TV series virginity.
Now, in the midst of writing the 13 episodes that will eventually
become their second season, The Vacant Lot are a little older and a
little wiser. Twentysomethings Paul Greenberg, Rob Gfroerer, Nick
McKinney and Vito Viscomi have lived the equivalent of five years in
the last six months. They've watched their show air across North
America (here on CBC and on MTV and Comedy Central in the States).
They've seen it pull in reviews that ranged from "comic Antichrists" to
"next-generation comedy." They've seen time slots juggled, sketches fly
and sketches crash.
They've received fan mail ranging from marriage proposals via "the
panty lady," to a woman whose parrot sings Vacant Lot tunes, to
detailed descriptions of teenage boys picking up prostitutes. They've
been on Late Night With Conan O'Brien and profiled in Vanity Fair.
And now they have to go back, Jack, and do it again.
Before they do, however, The Vacant Lot are playing the Rivoli, that
small log-cabin Queen St. club where it all began. On Saturday (Dec.
17), they return for a one-off show -- it's their first since '93.
"We've been doing a lot of sitting around in the office in front of
computers," says McKinney, 29. "After a while, it's like `I wonder if
this stuff is funny?' "
"So we're performing with our desks in front of us," adds Viscomi.
"It's a lot like Love Letters," Greenberg tags. "Have you seen that?"
The Dec. 17 outing will feature a 50/50 split of old standbys and new
material. Many of the scenes were penned by, or at least with, The
Vacant Lot's new addition, Garry Campbell, a former Kids scribe and
card-carrying member of sketch troupe The Chumps. Campbell brings TV
savvy and experience to the Lot.
Says Campbell, 34, with a laugh, "I was concerned about joining a group
that had been together so long (this is the Lot's seventh year). But
there was no problem. Actually, it's kind of boring now."
The '95 season will have a different style. Last season the Lot strove
to produce a show that went against the stereotypical look of TV sketch
comedy. They wanted to create a visual package that was more enticing
than the average Saturday Night Live derivative -- three cameras and
then, as the skit concludes, pull out to reveal the set and audience.
Their quest for exciting images sometimes succeeded too well. The
show's opening credits, for example, were visually impressive. The
opening roll featured a slow-motion punk tribute to Buster Keaton.
Problem was, we never got a close look at any of the Lot. Consequently,
the opening failed in its chief purpose -- to introduce the group to
viewers.
This season we can expect a more pared-down product. "We asked for a
lot of design elements that made the show look great but sometimes made
the comedy suffer," says McKinney. "We became too aware of where the
camera was."
The Lot's first season was, by the industry's definition, a success.
Number one, they survived in a business where many shows get axed
seconds after the pilot. The Lot got the typical treatment in the
mainstream media -- plenty of hype, followed by some praise and some
condemnation. Although the Lot were not an overnight hit, they found
their audience, drew many fans, garnered an Internet news group
(7521...@compuserve.com) and, most importantly, pleased their
backers. Last week, the group hit New York City to meet with their
production house Broadway Video. The company, who produced the Kids,
reaffirmed their commitment to the group.
Today, the pressure is on. "In many ways our last six episodes were
almost pilots," says Greenberg.
They're expected to nail it in 1995. To ensure that they hit, the Lot
are logging in many writing hours. Ultimately, that's what makes or
breaks TV comedy. If the writing isn't there, no matter how talented
the comic or well packaged the show, the laughs won't come. Writing has
always been The Vacant Lot's strong suit. The group has the knack for
being unique and at the same time pressing buttons that resonate in the
population. For example, their "Blinded By the Light" skit (in which
poker players misquote the song's lyrics with conviction) tapped into a
generation whose heads are crammed with irritating bits of pop culture.
The game may still be comedy, but the stakes are higher. The Vacant Lot
used to work their material while playing cards in Viscomi's basement.
Today, more care is required.
"You don't have the same chance to experiment as you do onstage,"
admits Viscomi. "You can say, `It's a half-assed scene but we'll give
it a shot.' You can't put half-assed ideas on TV."
Viscomi is right, despite evidence (Boogie's Diner, Baywatch, She TV)
to the contrary. The Vacant Lot had, and still have, the shot that
Canadian comics crave. Like anyone who's made it that far, the foursome
have realized that this "shot" is more myth than reality. The further
you go, the more you give. In TV comedy there is no rest for the funny.
But The Vacant Lot wouldn't have it any other way.
Says Greenberg, "We try to avoid admitting it's a real job at any cost.
Basically, we're professional smart-asses."
GIRLS, GIRLS, GIRLS
Elvira Kurt's Holiday Grrrlie Show runs at the Theatre Centre West,
1032 Queen St. W., to Sunday (Dec. 18). On deck for the festive Grrl
treat are Brigitte Gall, Christine Crosby, Wendy Hopkins and Sandra
Shamas, along with Diane Flacks and Eve (all-grrl improv group).
Tickets are $10 at 538-0988. Show starts at 8:30 p.m.
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