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Lizz Winstead’s Wake Up World Rouses Minneapolis

by Jake Mohan 


Tags: media, arts, multimedia, politics, music, satire, comedy, theater, Lizz Winstead, Baron Vaughn, Wake Up World, RNC, Republican National Convention, Minneapolis, Twin Cities, Sarah Palin, John McCain,

lizz winsteadWe all know how much fun it is to gather around a television with like-minded friends and shout snide things at the unpalatable speeches being broadcast. Now imagine doing that in a theater filled with 300 drunk liberals. 

That’s precisely what I did last Thursday, at the tail end of Daily Show creator Lizz Winstead’s multimedia satire, Shoot the Messenger. The show holds weekly performances in New York City, where Winstead and her ensemble spoof the week’s headlines during a parodic morning news show called Wake Up World (“America’s only 6-hour morning show!”)

But last week, in dubious honor of the RNC, Winstead’s troupe brought their show to her native Minneapolis for three nights at the Parkway Theater. Each evening’s events went beyond mere theater to include live feeds from the RNC and musical performances from revered protest singer Billy Bragg and local legends Dan Wilson, Jim Walsh, and Grant Hart.

Before the show, the Parkway’s seats were mostly full of chatty people munching popcorn as the onstage screen showed eminently believable ads for the “24/7 Infonewsment Network’s” fake shows, such as Poll Dancing with sexy anchorwoman Emily Rackcheck and MedicAsian with Dr. Vijay Jay.

Winstead and her co-star Baron Vaughn starred as Wake Up World’s chipper, clueless hosts Hope Jean Paul and Davis Miles. Hope Jean Paul is, like her creator, from the Twin Cities area: “I’m originally from Coon Rapids,” she chirped, to which Vaughn (who is African American) replied, “Wow! Sounds like my kind of place!” Naughty laughter erupted and Winstead replied, “Now, Davis, try not to be offended by the name, just because it contains the word Rapids.”

That joke set the tone for the show, whose mix of absurdity and topical satire has made Winstead’s more famous brainchild the Daily Show a media phenomenon for over a decade. Wake Up World, even more so than the Daily Show or its cousin the Colbert Report, is an acerbic and overtly partisan takedown of our leaders’ hypocrisies and the 24-hour news cycle’s vapid excesses.

In true morning-show form, Winstead and Vaughn hyped insipid segments like Lumpy the Cancer-Sniffing Dog, who they promised would find the one lucky audience member with a malignant tumor. A pro–big oil energy “expert” was brought in to discuss his new book The Town Pump: Alternatives to Alternative Energy. And a member of private security contractor Blackwater sat down with the hosts to discuss his new miracle fitness regimen: “Extreme Waterboard Abs.”

Pulchritudinous newsgal Emily Rackcheck delivered hourly news updates in a low-cut sweater and miniskirt. Bloviators Hunter Carlsbad (wearing a bowtie) and Daniels Midland (host of the Complication Room) shouted at each other during a Crossfire-style segment touted as “a debate between both sides of the political spectrum: the Far Right and the Right of Center!”

Winstead also tailored the show to the region with pre-taped biographical puff pieces on Laurie Coleman and Michelle Bachman subtitled “Behind the Taut Canvas.” There were ads for “a 31-part investigative series” called White in America and a gauzy video appeal from Sarah Silverman for charitable donations to private contracting firms.

After Wake Up World concluded, the evening shifted gears for its second segment, where Winstead reappeared as herself and sat down with liberal talk-radio host Ed Schultz to discuss the RNC—specifically Palin, whose fur-coat photo Winstead captioned “Wasilla DeVille.” Schultz was witty and affable, assuring us that McCain’s campaign would buckle under the weight of its own hypocrisy: “Look, everything’s going to be fine. And if it’s not, then we get another vice president who might shoot someone in the face!”

This marathon mix of political discourse, satire, and campy theatre was only a prelude, however, for the evening’s main event: a massive group viewing of John McCain’s speech. The audience, now well-lubricated and ready to laugh not so much with satirical glee as incredulous derision, filed back into the theater as McCain’s hagiographic video was playing on the giant screen, which had been tuned to MSNBC’s live feed from the convention.

As the man himself took the stage, the theater audience erupted with boos and squeals. The people around me gladly obeyed the rules of a drinking game Winstead had announced earlier: that we hoist our glasses every time the word maverick was used. Genuine cheers burst forth when MSNBC’s cameras zoomed in on the IVAW and Code Pink protestors who had infiltrated the hall.

As the speech dragged on and John McCain’s smiling rictus became increasingly creepy, the Parkway crowd got rowdier and my convention fatigue peaked. Around the moment when the last poorly programmed image appeared behind the penis-shaped stage, I fled the theater for some fresh air. When I went back inside a few minutes later, I encountered a completely different scene which cleared my head, the perfect antidote to the televised nightmare we’d just seen: Dan Wilson was playing his ubiquitous and charming hit single “Closing Time” to a much smaller crowd gathered near the front of the theater, kicking off one of Jim Walsh’s famous Hootenannies. Then Grant Hart took the stage, and the aging avatars of the Minneapolis counterculture settled further into their seats to watch their heroes perform, resting after a long evening—and week—of politicized sensory overload.