Throughout season two of The Imposter, Aliya Pabani has explored the poetics and politics of comedy in her attempt to become a standup comedian.
She's considered what makes us laugh and why, explored the implications of Improv's "yes, and" philosophy in a time of #MeToo, and asked whether comedy is worth funding as art.
She's also been workshopping her jokes about racism, but the challenge of implicating her audience without losing them has her feeling unsure whether it's possible to make meaningful jokes that are actually funny. Is comedy a tool to placate the masses, or can it be used to cut deep?
In this—very Imposter—final live show, Aliya takes to the Second City stage to perform her final stand-up set in this live-podcast-meets-The-Voice mashup featuring comedy and critical feedback from judges Nick Nemeroff & Brandon Ash-Mohammed, and a live score by Johnny Spence.
Will Aliya bomb or solve racism with jokes? Find out in this final episode of The Imposter.
Born in Philadelphia, Glenn came to McGill in the 60s to study music. He fell in love with Canada, released some albums, sang alongside musicians like Bruce Cockburn, and became a regular on Mr. Dressup.
Recently, his self-released album Keyboard Fantasies was rediscovered. He's since returned to the stage with a new band, pulling music from his extensive catalogue of jazzy folk, classically-influenced soundscapes and electrified negro spirituals.
Now in his 70s, Beverly Glenn-Copeland reflects on some of the moments that shaped his musical path, including his love of Star Trek, a pianistic rivalry with his dad and the experience of moving through the world as a trans man.
With less than a month left until her final set on the Second City stage, Aliya realizes that she's not totally sold on standup. So she talks to Sandra Battaglini, a comedian who's petitioning the government to recognize comedy as an art form that's worth funding, and the art duo Life of a Craphead who discuss the evolution of their jokes, from mixing a chemical weapon onstage to dumping a colonial sculpture into the Don River.
Sign a petition to get comedy recognized as art
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