Through Character Assassin, Steen Raskopolous consolidates his credentials as a one-man sketch comedy specialist.
True to form, Raskopolous frequently rolls the dice and incorporates unwitting audience members within his show. While it’s true that participants appear less than empowered as they tentatively approach the stage, the fact remains that Raskopolous truly cedes an excess of control to those he plucks from the front, middle and back. Character Assassin requires Raskopoulos to expect the unexpected and he does so with aplomb. His ability to riff with his audience and ride each wave as it forms is exceptional.
It’s a credit to Raskopolous that, as the show unfolds, you find yourself keen to be involved in his brand of silliness. Not many performers can make audience participation seem appealing, but Raskopolous has managed to crack the code somehow. Incidentally, the few segments that call upon audience assistance – in particular, an exercise in unorthodox roleplay and an impromptu movie pitch – account for some of the show’s memorable highlights. His ceremony for a “fancy” drink – short but sweet, simple yet effective – might just top them all.
Meanwhile, some bits still seem to be taking shape, particularly those that end with surprising poignancy. In these moments, Raskopoulos’ artistic license only serves to keep things ambiguous: should one engage with certain segments at face-value, with a stony silence? Or is the point to appreciate the absurd contrast and departure from the rest of the show? Instinct suggests the latter, though the hint may elude audiences.
In all likelihood, Raskopoulos will tweak things as the season unfolds. Anyway, these things are minor points compared to one major plus: more often than not, Character Assassin captures the superb form of its acclaimed predecessor, I’m Wearing Two Suits Because I Mean Business. Essentially, there are no backwards steps taken here, Character Assassin offering sketch comedy with exciting twists. Raskopolous remains as funny and as daring as ever, presenting a revolving door of characters and a distinct fondness for the ridiculous.
BY NICK MASON
