Branding the American Dream

By Aphrodite M.



Russell Brand is cashing in on the American Dream although, judging from the content of his latest comedy gigs in Los Angeles, he seems to have little respect for what he views as the American, capitalist, consumer-run colonization of the entire world. One wonders if he is referring to the very same capitalist model which promotes his books, tours, films and comedy performances, keeping him in the filthy rich lifestyle to which he is accustomed to.

Brand has been working on a documentary on enlightenment, happiness and the nature of fame with Oliver Stone. The Los Angeles comedy dates were being used for footage to be included in the film. He played several low key dates at the Acme Comedy Theatre in Los Angeles, testing out his brand of comedy on American audiences. It would be prudent to note, though, that American public opinion is as varied as Brand’s consortium of lady friends before his vow of eternal monogamy to pop singer Katy Perry.

His first performance was on Wednesday, January 12^th and Brand came out excusing himself by stating he was running on large quantities of coffee and very little sleep. Later he would again apologize for his “laissez-faire” attitude, as his energy and act were both waning.

On stage was the requisite comic’s stool, which he shunned in favor of sitting cross-legged on the stage floor. Also on stage was a small table filled with various brands of bottled water and a couple of bananas (presumably his preferred, potassium-rich snack of choice). The water was meant for a joke he never got to and the banana he ate as he walked through the theatre, chatting to various audience members as a break from his material.

The “rehearsal show,” billed as a performance presenting new material and being filmed for a documentary, amounted to some rambling lackluster drivel, peppered with technical difficulties. The dulcet sounds of a trapped cricket in the theater accompanied the scattered commentary from Brand's notes as he tried to gather his thoughts. Far more interesting and entertaining were his moments of ad-libbing when he interacted with the audience in his usual laser-sharp assessment of people and situations.

Although Brand referred to the performances as a rehearsal exercises with unfinished material, from the moment one has a paying audience with expectations there is a responsibility to come prepared as a performer with material that is somewhat coherent and pre-rehearsed. Only then can one get useful feedback from an audience.

At one point, as Brand was kneeling on stage looking through his notes, he absent-mindedly said, “I’m under a lot of pressure at work,” which elicited more laughs than some of his prepared material. The highlight of the evening was when he got confrontational with his own camera man, which he mistook for a rogue audience member trying to record his copyrighted material.

By the final performance date at the Acme Theatre, on Monday, January 17^th, Brand had gotten his thoughts in order, complete with a board showcasing his talking points and a comedy act which flowed coherently and cut out most of the rambling.  Of course, on both occasions Brands fascination with the art of hairdressing was omnipresent (lest we forget the teased-out, rat’s nest poof he sported for several years), as he picked on male audience members whose hairstyles he likened to both Princess Diana and Justin Bieber. 

The premise of Brand's act is his misconception as a boy that fame would bring him happiness and fulfillment and how after achieving fame he found it did not deliver what he was expecting. Brand did have the good sense to add he wasn’t looking for sympathy over his glamorous life living in “a huge mansion with pop star Katy Perry,” as he put it.

He then launched into a foray of almost preach-y dialogue about children’s priorities revolving around shallow aspirations like fame, good looks and riches and his charitable appearances in third world countries to boost his self image. The part about his public profile being enhanced was said in jest, as was the nature of the act, but it rang true enough.

Brand likes to wax poetic about his quest to somehow be a better man while coming to terms with his celebrity status within the confines of his non-violent, consumer-free, animal loving, transcendental activist aspirations and how his narcissistic self-awareness of his fame addiction won’t allow him to ever reach full enlightenment. Thus, Russell “Mahatma Ghandi” Brand, an extension of his name which is sure to catch on soon, goes into shameless self-promotion about his “Buy Love Here” one day, barter campaign and his various other creative and promotional outlets.

The act is a dichotomous medley of hypocrisy, mimed masturbation, cheeky sex talk, a fascination with incest and rectal shenanigans and pseudo-enlightened references to world peace, global branding and the world’s obsession with celebrity, which in effect is what keeps Brand in business. Sounds titillating, doesn’t it? Oh yes, and then there’s his electric, bad-boy reputation, long mane of kinky locks, uniform of black jeggings (jeans/leggings) and pulchritudinously angular facial features. The latter is what certainly filled the seats with more than half of the female audience members and perhaps some of the males.

Although Brand’s act aspires to be half a socio-political commentary (in the spirit of the late, great comic George Carlin) and half an over-indulgent celebration of debauchery and vice (as Sam Kinison was best known for), the act comes off as a messy hodgepodge of ideas, failing at both because it won’t take a clear, steady and unapologetic stance in either direction. Also, the material is trite and nothing that hasn’t been said before by  greater comics and by Brand himself in numerous interviews and late night television appearances.

Perhaps Brand should rethink his ideologically ungrateful stance on fame and commerce, as he is a public figure who continues to actively pursue and benefit largely from both. If the day ever comes when he pulls a Dave Chappelle and gives up his career in exchange for a life of anonymity, then perhaps his critique of the fame machine will carry some credibility.

Furthermore, with fame comes greater responsibility. This responsibility lies not only in one’s preparedness when presenting one’s work but also in having a healthy respect and common courtesy to the fan base which keeps a celebrity’s career off of death row. Although Brand is a personable and charismatic individual who does greet his fans, he needs to show some sincerity.

One example being that on the final night of his show he promised to come out and meet the crowd and take pictures, which he did. The caveat, he stayed for five minutes, was rushed through the crowd by his bodyguard Dan and when a gentleman begged for a picture, declaring that he had driven eight hours to see the show, Brand responded, “Sorry mate, I gotta leave.” That one extra second of time meant a lot to that fan but little to Brand. Perhaps he should consider this next time he promises to meet and take pictures with the audience, which on that occassion amounted to 40 people staying behind in the lobby.

Also, in dispensing with his signature teased hair poof, Brand seems also to have dispensed with his ability to be the irreverent, lascivious cad, British audiences came to know and love. For his L.A. persona, he’s adopted instead a vanilla-version of himself I’ve dubbed cad-light. His less tangled head of hair is accessorized with a milder form of regurgitated comedy which serves to boost his self-image but does little to advance any original concepts. Of course, none of this will be a hindrance to Brand as a rising Hollywood star. His quick wit and flamboyant personality can certainly light up any room when the cameras are rolling and in Hollywood that's better than hitting the jackpot.

Already sold out dates have been added at the Hollywood Improv from Tuesday, January 18^th through the 20^th.

As featured on Picktainment.