
Jeff Ross to make his Broadway debut this summer in one-man show that's far from a roast
NEW YORK (AP) — Jeff Ross, a comedian known for hosting brutal roasts of celebrities, is coming to Broadway this summer with a one-man autobiographical show that will offer fans a softer, more intimate side.
'The hard part for me is letting go of a bit of my armor — of my roastmaster persona — and letting the audience get to me so that I can then get them,' he tells The Associated Press ahead of a formal announcement Wednesday. 'I think it's healthy to change it up and surprise people.'
'Jeff Ross: Take a Banana for the Ride' will play the Nederlander Theatre starting Aug. 5 for an eight-week engagement through Sept. 29.
The show will explore Ross' close relatives, especially his grandfather on his mother's side — Ross calls him 'the hero of my childhood' — who stepped up after the comedian's parents died when he was a teenager.
'It's very autobiographical, but it's also not really about just me. It's about all of us. When I talk about my uncle or my mom, I want you to see your uncle and your mom in the stories. That's really important to me,' Ross says.
'It's very joyful. It kind of takes the stigma out of loss and sickness and lets people know that they're going to be OK no matter what happens.'
The title comes from the days when Ross was living with his grandfather in New Jersey. The younger man would take his grandfather to doctor visits or visit him in the hospital during the day and at night go into New York for open-mic nights.
'My grandfather would always give me money for the bus and a banana, and he'd say, 'Take a banana for the ride.' I reluctantly took it, and more often than not, I'd be stuck in traffic, or I'd get low blood sugar, and that banana would be a lifesaver,' says Ross.
'But it was really his way of saying, 'Be ready for anything' and also, 'I can't go with you but I'm there with you in spirit.' So it was an emotional thing, it was a practical thing. It's something that I still do.'
Ross is known as 'The Roastmaster General' for his incendiary takedowns of Justin Bieber, Rob Lowe, Alec Baldwin and Tom Brady, among many others.
The seeds for 'Jeff Ross: Take a Banana for the Ride' were planted in the mid-1990s when Ross gathered jokes and stories about his grandfather for an hourlong set. But digging up the past proved too much.
'I couldn't sustain it emotionally. It was just too much for me as a 30-year-old guy,' Ross says. 'But now, 30 years later, I can dig in and look back and add a layer of experience over it all.'
He was spurred on in large part to losing three comedic friends — Bob Saget, Gilbert Gottfried and Norm Macdonald — within eight months. 'That motivated me to look back at the old show from decades earlier and rewrite it completely for my current brain and my current skill set.'
Ross will be the latest comedian to come to Broadway, following John Mulaney, Mike Birbiglia, Alex Edelman, Amy Schumer, Keegan-Michael Key, Rachel Dratch, Billy Crystal and Colin Quinn. Bill Burr made his Broadway debut this year in a revival of 'Glengarry Glen Ross.'
Ross reaches back even further. His aunt took him to see Jackie Mason's 'The World According to Me!' in the 1980s, and the young comedian was floored by the comedian's captivating set.
'It was elegant, but it was also punk rock because he was being bawdy and naughty and hilarious and saying taboo things and it really, really stayed with me for a long, long time.'
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The Hill
4 hours ago
- The Hill
South Korea's last circus, Dongchoon, holds up as it marks centennial
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Hamilton Spectator
5 hours ago
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South Korea's last circus, Dongchoon, holds up as it marks centennial
ANSAN, South Korea (AP) — No more elephant and monkey acts. No more death-defying motorbike stunts. No more singing or acting on stage. Several hundred spectators still clapped constantly when acrobats with Dongchoon Circus Troupe, South Korea's last and 100-year-old circus, twirled on a long suspended fabric, juggled clubs on a large, rotating wheel and rode a unicycle on a tightrope under the big top. 'As I recall the hardship that I've gone through, I think I've done something significant,' Park Sae-hwan, the head of the circus, said in a recent Associated Press interview. 'But I also feel heavy responsibility because if Dongchoon stops, our country's circus, one genre in our performing arts, will disappear. That's the problem.' The golden age of circuses Founded in 1925, Dongchoon is Korea's oldest circus. In the golden ages of South Korean circuses in the 1960s when most households still had no TVs, Dongchoon travelled across the country, wowing audiences with then exotic animals like an elephant and a giraffe and a variety of shows including skits, comic talks, singing, dancing and magic shows. At its peak years, it had more than 200 artists, acrobats and other staff, according to Park. Like in many other countries, TVs and movies later syphoned off the audiences of Dongchoon and other circuses in South Korea. Their actors, singers and comedians moved to TV stations, and some became bigger stars. The advent of the internet, video games and professional sports were another blow. South Korean circuses also dropped animal shows that faced protests by animal rights campaigners. Now, Dongchoon is the only circus in South Korea after all its rivals went out of business. How Dongchoon survives Park, who joined Dongchoon in 1963, served as a show host and sometimes sang and acted in the circus's drama programs. He left the circus in 1973 and ran a lucrative supermarket business. In 1978, he returned to the circus industry by taking over Dongchoon, which was put up for sale after devastating typhoon damage. Park, now 80, said he worried Dongchoon could disappear into history after seeing newspaper reports that its assets would be split into parts and sold. 'I thought Dongchoon must not disappear. When we want to study the roots of our country's dramas, we should look back on the traces of Dongchoon. The same goes for the history of our other shows, traditional music performances and magic shows as well as circuses themselves,' Park said. Heo Jeong Joo, an expert at the All That Heritage Research Institute, also values highly the legacy of Dongchoon, which she said incorporated many traditional performers and artists who operated before its 1925 founding. 'Its foundation exceeds 100 years. In a historical perspective, I think it should be designated as an intangible cultural asset,' Heo said. Park said he almost closed the circus in 2009 after his shows drew only 10-20 spectators each for several months during a widespread flu outbreak. It survived after local media reports sympathizing with the plight of Dongchoon prompted many people to flock and fully pack shows for weeks, he said. Dongchoon leaps again at its seaside big top Since 2011, Dongchoon has been performing at a big top at a seaside tourist area in Ansan, just south of Seoul. Its circus workers also frequently travel to other areas for temporary shows. Dongchoon officials said their business is doing relatively well, drawing several hundred spectators on weekdays and up to 2,000 on weekends at Ansan alone. Ansan official Sharon Ham said local tourism has been boosted by Dongchoon's presence. She said Dongchoon shows are popular with both older generations wanting to recall childhood memories of circuses and younger generations seeking something new. 'It was a very impressive and meaningful circus,' Sim Chung-yong, a 61-year-old spectator, said after one show last week. 'But I also thought about how much big pains and hardships those circus acrobats underwent to perform like this.' Dongchoon officials say they now offer only acrobatic performances and refrain from too-risky acts because many people don't like them any longer. Its all 35 acrobats are now Chinese, as a circus job is generally shunned by more affluent South Koreans who consider it too dangerous and low-paying. Park said he bought land at Ansan where he hopes to build a circus school to nurture South Korean circus artists. Xing Jiangtao, 37, has been working for Dongchoon since 2002 — initially as an acrobat and now as its performance director. He recalled that when he first came to South Korea, he and his Chinese colleagues all worked as assistants to Dongchoon's 50 South Korean acrobats but they've all left one by one. 'Now, it's the only circus in South Korea, and I hope we will create good circus performances to show to spectators so that we can help Dongchoon exist for another 100 years,' Xing said in fluent Korean.


San Francisco Chronicle
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