|10. Men's Parts|
|12. Dr. Roof|
|16. ...And The Future|
Recorded in front of a live audience at the New York City Metropolitan House of Opera in 1986, the CD takes the performance and gives us a meaty sample of Williams, on a variety of subject matter. Since it is a mid-80's free for all--some of the humor is outdated. For a time though, it does take you back to that interesting decade...The best parts of the album is when the comedian talks about Relationships, Pregnancy, Childbirth and Childhood. Whether male, female, a parent or not, you will laugh out loud.
Be warned as you might expect Williams fills his monologues with explicit matarial intended for mature audiences. Sadly the CD only features 53:51 of material, this should have been a double CD. There are 16 tracks. The nice thing though, is that the material stands up to repeated plays and is Williams doing some of his zanniest schtick
Yes, Robin Williams is sizzling, bursting with energy, but this alone is not a substitute for overall delivery skills and for high-quality writing. Williams lacks both. It gets tiring after 10 minutes - all you can hear is that the guy talks fast, saliva flying everywhere. But is this great stand-up? I am afraid not.
In his movie roles, Robin Williams struggles to escape from the swamp of single-dimensional cliches and predictability; he has had a few very good roles, but most are increasingly flat and leave you wishing that he would close the tap on his trademark endless fast talking. Sadly, this CD leaves exactly the same impression. I just wanted him to shut up, because this was no comedy, just a guy with annoying voice talking really really fast - no pauses, no climb to the peak, just showing off his empty energy.
Robin Williams might have many talents, but stand-up is not one of them.
Williams can almost be described as "insane" on this album. He improvs for the first few minutes, and then launches into everything from alcohol and drugs, to President Reagan, and finally to sex. The man for almost an hour drives you crazy with his twisted humor. It is a shame he would rather do serious movies, but I guess he felt he needed to evolve. Still, if you want to see of Robin Williams as the craziest nut on the planet. You need to listen to this.
Robin Williams is flat-out insane on stage, and "A Night ..." does a fairly good job of catching his insanity. From riffs on Tom Landry directing "Swan Lake" ("take Giselle, throw her downfield ten, fifteen yards!") to getting busted with cocaine ("I'm okay, I'm okay, red, blue, red, blue--OH, ...) to fatherhood ("I expected three nomads to come into the delivery room--'we saw a star, dude?'"), only the most humor-resistant won't crack up. The only disappointment is that this wasn't a double CD, since Robin did about 2.5 hours at our show, a lot of which was even funnier than what appears here! Believe it or not, Robin only made three comedy albums--his first two, "Reality ... what a concept" and "Throbbing Python of Love" are long out of print. "Reality" is his funniest, but "A Night ..." isn't far behind. Yeah, he's now an Oscar-winning actor, but "A Night ..." reminds us that Robin Williams wasn't always so earnest ...
"A Night at the Met" is Williams's most enduring stand-up work for good reason. Each performance he puts on is unique and different, and this one is more unique than most. In it, he attacks fatherhood, pregnancy, sex and all things in between. He delves into foreign affairs and the Reagan presidency. Though he is a San Francisco liberal, one can tell here that the jokes are not meant as political statement, either. They are the kind that even a Reagan Republican finds himself or herself laughing at. He attacks the ideas of drug and alcohol addicts and makes a joke of his own former alcoholism.
Perhaps the one thing that is most striking about "A Night at the Met" is Williams's profound honesty in everything he says. He does not have a script, cue cards, or a set schedule for gags. Instead, he draws from a box of props and goes from there. It is honest and genuine. And that is the most important thing in any art form.