Spencer Jones informs the audience of how shows are prepared and titled in terms of their status, gesturing the levity of work in progress, preview and show, then signals his show is somewhere under the Monkey Barrel floorboards. There’s even a little sound clip and mandatory jiggle his tech plays when something has gone wrong. Giving how he’s been touring his previous tour and in demand, with a new sitcom in the works, it’s understandable the show might be rough and somewhat astonishing he’s still managed to pack together an hour with all his hallmark hamper of nonsense props that bring out the immature sensibilities out of all of us.
Just a word of warning, don’t sit in the corner of the room, an immediate faux pas on my part as the illusion of surprise was often ruined by my point of view. Regardless, the laughs are usually born out of Spencer’s inventiveness of the ridiculously sublime. Be it donating personalities to tennis balls, or carving up toy dinosaurs, or imitating his brother with a pair of tights, there are hits and guffaws of laughter throughout. But one prop based gag that literally sends the room in vibrations, has to be one of the funniest things I’ve ever seen. Whether The Audition is at 100% or not, that skit alone is worth the ticket price.
Upon the walls of the Monkey Barrel are mounted cutouts of some of the most influential people in the history of comedy. One cannot help but think that in years to come Spencer Jones should have his own cut out on the walls. A national treasure in the making.