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Music : Comedy in Music
Rating: 
- Perhaps the funniest man I ever saw....
Victor Borge's Comedy in Music is irresistable wit meeting immovable objects. Pretentious music, fussy grammar, and high brow audience members are quickly laid low by Mr. Borge's deft comic touch. From the opening line "Welcome to Boston" through a series of spoken and musical interactions with audience members, Mr. Borge plays the role of a beloved, if slightly antic, teacher admonishing his students to behave while rupturing their composure with each new routine.
Mr. Borge's diverse talents combine to give us somthing genuinely new: high comedy and low art. Consider his re-working of "Happy Birthday" in the style of past masters. He is so funny in setting up the routine, that the musical interpretation is secondary. What could easily have become a technical display of improvisation instead becomes a hilarious charicature of each composer. Stolid Bach is particularly well done while, fittingly, Mr. Borge plays Brahms more or less straight.
Which points to something I've always suspected. I believe that Victor Borge loved classical music almost as much as he loved to hear us laugh.
It is our eternal good fortune that he decided to do both.
- Perhaps the funniest man I ever saw....Victor Borge's Comedy in Music is irresistable wit meeting immovable objects. Pretentious music, fussy grammar, and high brow audience members are quickly laid low by Mr. Borge's deft comic touch. From the opening line "Welcome to Boston" through a series of spoken and musical interactions with audience members, Mr. Borge plays the role of a beloved, if slightly antic, teacher admonishing his students to behave while rupturing their composure with each new routine.
Mr. Borge's diverse talents combine to give us somthing genuinely new: high comedy and low art. Consider his re-working of "Happy Birthday" in the style of past masters. He is so funny in setting up the routine, that the musical interpretation is secondary. What could easily have become a technical display of improvisation instead becomes a hilarious charicature of each composer. Stolid Bach is particularly well done while, fittingly, Mr. Borge plays Brahms more or less straight.
Which points to something I've always suspected. I believe that Victor Borge loved classical music almost as much as he loved to hear us laugh.
It is our eternal good fortune that he decided to do both.