Reviewed by Asa Fris
A Hollywood Fringe production at The Broadwater (Studio)
Through June 29th
RECOMMENDED
How do you come to terms with the loss of a loved one? For Elena Martinez, the answer is to write a solo comedy show, celebrating that individual with levity and grace. (The show is co-written and directed by Natasha Mercado.)
The loved one is her Dad, but the title Funeral Show is a bit of a misnomer. He’s not dead, although their relationship is — though Martinez never fully elaborates as to why. Instead, she offers anecdotes, songs, and all around tomfoolery to shed light on who he was, what he meant to her, and just why she loved him so much.
The overriding conceit is that we are at his funeral, and the set is decorated with “family photos”, a “casket”, and a picture of her dad that bears her own resemblance. She starts off by assigning audience members to play various members of her family, handing them notecards with pre-written responses they may use, and chiding them when they do not. (She revisits these lines throughout the show to offer insights into his relationship with different family members.) Then, she leads the family in a song whose lyrics are composed of their assigned lines, her self-proclaimed spin on Jacob Collier conducting the audiences of his concerts.
After warming up the crowd, she begins to decorate the space with items best suited to honor her father, like a Titanic movie poster turned pulpit. This section also marks the beginning of a dialogue with her stage manager, Claire, who offers guidance on what decorations to choose by playing different sound cues associated with different interests of her dad. (Most of these jokes fall a little flat, and derail the momentum of Martinez’s storytelling.)
As Martinez decorates, she gradually dons more and more pieces of clothing — items featured in the anecdotes she shares about her Dad. Then finally, after an amalgamation of flashing lights and songs layered over other songs, she “emerges” from the casket as none other than her dad, in the flesh, attending his own funeral. As her dad, Martinez leads a Q&A where the audience can ask him anything, though she has a few questions pre-planned. (There are a few moments of improvisation throughout Funeral Show and Martinez navigates them all adeptly.)
It is wonderful to watch Martinez play her father. There is not an ounce of judgment, or finger-pointing. Her portrayal is unassuming and full of heart. She’s also comedically free as a bird, and caps off her portrayal of him by giving him the best death imaginable — absurd, crass, and well, masturbatory.
After his death, she’s back in all black, and concludes by telling a few more stories underscored by “My Heart Will Go On,” a song with sentimental value for both of them. She invites the audience to sing along with her, but true to the spirit of her show, repeatedly tricks them into singing when they ‘aren’t ‘supposed to’. Wrapping up, she relays that she thought that grieving her relationship might result in a scathing letter, or an otherwise negative creation, but the bawdy, silly, and sensitive Funeral Show materialized instead.
The Broadwater (Studio), 1078 Lillian Way, Los Angeles, CA 90038, https://www.hollywoodfringe.org/projects/11710?tab=details, Running time approximately 1 hour
