The Glee Club: Oxford is a cozy upstairs bar above a restaurant nightclub that hosts stand-up comedians every Saturday night. It sat around sixty audience members in booths and tables arranged in a semi-circle around the small stage. The host for the evening, Matt Hardy, came on and riled up the crowd, mainly by heckling the three groups of loud, drunken women out on Hen Night (a cultural celebration similar to a bachelorette party). As an Australian, he made many humorous remarks and observations about British culture. As a foreigner, I appreciated this.
He then introduced the opening act, John Hastings, a Canadian comedian. Hastings’ style was pretty casual and genuine. He told demeaning stories about the pressures of growing up with successful parents and funny anecdotes about crazy ex-girlfriends. His set was about twenty minutes, and it was very well-received. It was pretty standard compared to most stand-up performances. He brought back punchlines throughout the set and I appreciated his authentic tone. He also interacted a bit with the audience, and the improvisation was witty and refreshing mixed in with his set jokes.
There was a break after the first set for people to buy drinks and use the restroom. Host Matt Hardy returned to the stage to a more rambunctious and obnoxious crowd. In this setting, I began to truly understand the role of a host at a comedy show. Hardy did a great job creating the most inviting atmosphere possible for the next performer—even at the expense and his reputation. He took some cheap shots at audience members so they would be respectful for the next comedian, and though it detracted from the reception of his jokes, it resulted in a respectable audience for the next act. I didn’t catch the name of the comedian that then took the stage. He was not listed, and judging by his short time slot, I believe he was a last minute addition. His bit as a comedian was to be just socially awkward enough to be funny, but not enough that the audience would feel bad for him. He often mumbled and trailed off a bit while he delivered dry and directionless jokes. The corky awkwardness was very divisive for the audience. I really enjoyed it, but I feel it could have gotten a bit stale if it continued for more than his ten minute set.
The next comedian introduced was named Steve Shanyaski. His act was very cheesy and hokey. The first five minutes were of him impersonating what a girl sounds like. Pockets of the crowd would burst into laughter any time he opened his mouth, and it was clear that the drinks of the evening were beginning to take their toll. His comedy was not very smart, and relied much more on an energetic, and in my opinion slightly obnoxious, presentation. He brought a guitar in toward the end of the set, but it became clear he only knew how to play a G chord.
After another break, the headliner, Carey Marx, was introduced. He by far had the most laid-back attitude, holding a pint of beer and slowly and patiently delivering jokes. If he weren’t on the stage with lights focused on him, most would believe he was just the funny friend at the bar. He also crossed every line of appropriateness possible—social, political, religious, everything. He had an absurdly incredible flow of logic for most of his jokes, somehow justifying (quite convincingly) that the best thing a person could do to save the planet was punching a clown and fisting a cow. He was also quite vocal that he was about to say something inappropriate and that he knew audience members were not going to like it, but he continued on unconcerned. Judging by his delivery, he was clearly a veteran. He presented his jokes, rather than selling them, as if he knew the joke was funny regardless of whether the audience laughed.
Overall, the night was a great success. The venue was small and intimate, and the room really took on the personality of the audience, and Carey Marx was one of the funniest comedians I have ever seen. Other than a minor misstep in the second half of the second act, it was a very funny evening.
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