Newest edition of Florida Studio Theatre’s musical, comedic Laughing Matters highlights Pandemic-induced Paranoia regarding political and cultural issues. Local to national, they include boisterous responses to mandates and various means of distancing from physical problems. In song and sketches, Sarasota and Florida issues like over-development get skewered along with national ones like pollution and inflation.
Four funny performers funnel frustrations and forbearances into songs, sketches, high stepping, and not only musical but also media parodies. Sole female interpreter Jenna Cormey easily joins in “60 Seconds” newscasts, is sick from “Covid, Covid” and related problems, and livens any sketch that involves fluid movement or dance.
The guys, who bonded working together on a previous “Laughing Matters” edition, do so likewise in equally shared sketches as in introducing or backing an individual comic. William Selby is most often Jerry Attrick, an on-the-air-or-screen host of “60 Seconds” broadcasts. He stars in “Hey Jo Biden" to the tune of “Hey Big Spender.” His stand-out single has him imitating a bedraggled Mother Nature proclaiming “I’m Still Here.”
Wiry Nick Anastasia portrays an activist Governor DeSantis being tunefully “Delightful…Delovely”. Nick makes a potent promoter of “Catatonix”, a medicine that makes one not care about any physical problems. Nick also becomes a different kind of “Medical Phenomenon” under William Selby’s inept Doctor (Frankenstein), assisted by an Igor-like Richie McCall.
Throughout two Acts, Richie McCall makes the most of many singular moments as presenter of “Great Moments in History.” Each features such famous figures as Joan of Arc and Mrs. Abraham Lincoln. He’s very funny introducing the song “Unforgettable” as well as bringing an alligator to end a group presentation.
Of the entire group’s sketches, local viewers have to love pedestrian problems “Crossing Tamiami,” Sarasota City’s major north-south Trail, and “Flori.D Man.” Media always convey news about “a Florida Man” of one kind or name. The related sketch, with much help from projections of printed papers, magazines, and audio scripts, is a stitch.
For tourists as well as Floridians, there are a lively “Paranoia Polka”, a “Space Race Oddity” scoring billionaire space explorers and a former TV star, and—using parodies of Fiddler on the Roof songs— a final “Shopper on the Ledge Medley.” Ben Liebert’s choreography does very well with Court Cabaret’s small stage. So does Bruce Price”s curtained backdrop with changing colors and sometimes twinkling lights.
Basic group costumes by Susan Angermann consist of men’s bright colored formal jackets and black pants, with a traditional mid-length leaf-green, sleeveless gown for Jenna. A lot of creativity has gone into skit costumes, especially for the Space skit and the Frankenstein take-off. Sound by Thom Korp and Andrew Gray’s lighting keep everyone appropriately seen and heard.
First and final credit goes to director Richard Hopkins, who proves there’s nothing better than talent and experience for staging a show. Well, maybe a wife like Rebecca Hopkins, who is an excellent writer of humor and headed the staff of writers for this show. Kudos to all!
