Posts Tagged ‘pee-wee herman’

Quote of the day: TIME

February 15, 2016

TIME

[With “Pee Wee’s] Playhouse,’’ [Paul] Reubens revitalized Saturday-morning programming, a wasteland of cheap animated series that served mostly as glorified toy commercials, by discovering an aesthetic wormhole connecting late-night comedy and early-morning children’s programming. The sensibility of stoned 20-somethings at midnight, he realized — marked by an unreasonable love of repetition, absurdity, narrative disjuncture and jokes that either last way too long or flit by in a short-attention-span-accommodating blink — had significant overlap with that of little kids in pajamas, laughing themselves silly over breakfast cereal. ‘‘Those are the times of the day when there aren’t rules,’’ Reubens said of morning and night, standing as they do in idiosyncratic opposition to the more conventional prerogatives of the prime-time dial. ‘‘Rules are for the other times.’’

— Jonah Weiner, “Laughing Last,” New York Times Magazine

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photo by Jeffrey Henson Scales

Theater review: THE PEE-WEE HERMAN SHOW

November 14, 2010


I wasn’t quite what to expect from the experience of seeing Pee-Wee Herman live onstage. Would it be an emotionally remote Xerox copy of the TV show? A cult event like Spamalot or Kiki and Herb on Broadway? In the event, I found myself helplessly swept up in its fiendish charms. You can read my review online at CultureVulture here.

Andy also loved the show

Like Jesse Green in New York magazine, I found myself cackling at the idea of Pee-Wee Herman opening on Broadway at a theater originally named for Henry Miller and recently renamed in honor of Stephen Sondheim. I loved it, though, that when Green brought it up in his interview, Paul Reubens wouldn’t put up with any snickering:

Yours is the first show in the former Henry Miller’s Theater since it was renamed for Stephen Sondheim. Some people might find that ironic—do you?
I don’t know what you mean. I love Sondheim’s work.

Good stuff online: Pee-Wee Herman is back!

January 22, 2010

See Charles McNulty’s review in the L.A. Times.

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