Golf: The Musical

There’s just something inherently humorous about seeing grown men cry on a Sunday afternoon.

Touring across the United States, Michael Roberts’ “Golf: The Musical” conveys a satirical perspective of the golf world and its many facets. Comprised of numerous inventive musical numbers and various comedic sketches, the show manages to take an otherwise lifeless sport and spin it into a web of comedic genius.

The production begins with a number entitled “A Show About Golf,” in which the show’s four characters and premise are simultaneously introduced. Comprised of three men and one women, each cast member takes turns in reciting witty reasons for the production of a show about golf, the first and foremost being the opportunity to make jokes about “balls.” The very fact that the show acknowledges the absurdity of its subject matter is lighthearted and entertaining. The characters are able to poke fun at themselves, essentially lightening the atmosphere of an otherwise dark and dreary auditorium. Thus, the audience is immediately enveloped by the bright (albeit contrived) smiles of the performers.

Met with much applause and laughter, the cast gallops gracefully though such sketches as, “That’s How You Play Golf” and “Presidents and Golf.” Some scenes, however, stood out more than others. “Tiger Woods,” for example, manages to delicately juxtapose biblical allusions and excessive fandom, poking fun at how those within the world of golf tend to excessively idolize Tiger Woods. In doing so, the production successfully allows the humor in golf to transcend the sport itself—the producer capitalizes upon the fact that Tiger Woods has become a household name.

“The Road To Heaven,” a sketch featuring one of the actors appearing in the likeness of Bob Hope, was also met with uproarious laughter. As expected, the act entails numerous knocks on old age and growing old in general, but it is decidedly careful in teetering upon the border of humor and offense. The actor who portrays Mr. Hope is dashingly funny, although his portrayal and accent are a bit over-the-top. Although this aspect of his performance might have been intentional, the references to which he alludes were somewhat lost in an auditorium sparsely filled with college freshmen.

Also of note were the numerous sexual references scattered throughout the evening’s performance. The term “balls,” as promised in the opening number, was equivocally and hysterically implemented throughout. Although this aspect of the show might have been lost among the older, more sagacious members of the audience, a Youtube generation that has grown to love such shows as “The Simpsons” and “Hannah Montana,” shows founded upon the ideal of “stupid humor” truly enjoyed it.

Perhaps the most redeeming quality an entertainer may exhibit is the ability to laugh at himself. On rare occasions when a joke failed and either received no applause or very little, the actors took the reception in stride and were able to improvise magnificently.

The production’s contemporary political humor and unabashed crudity rival the likes of Caddyshack and Happy Gilmore. “Golf: The Musical” is a production that should surely not be missed.