ERIC HOFFMAN: Words and Art by
Excerpts from the forthcoming book.
Eric Hoffman is a comedy writer/actor/cartoonist/author best known for his work with Mr. Show and UCB Theatre. Read his full bio HERE
EDITOR'S NOTE: If you're in a photograph below
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CHICAGO YEARS 1988-1995
Matt Walsh, Scot Robinson, Pat Walsh, Mike Monterastelli, Eric Hoffman. Manny's Pancake House, Chicago.
ERIC HOFFMAN: "I consider my eight years in Chicago to be one of the most creative and fulfilling times of my life. I attended a fantastic college, worked with some of the most talented people in the arts, voiced and operated a robot for a children's TV show, worked at Wrigley Field where I regularly saw Ernie Banks, and best of all I met my amazing wife. Below you'll see some of the acting, artwork (pre-Photoshop) and writing I was involved with during that time."
Chicago: In Chronological Order
Columbia College Chicago
(1988-1990)
ERIC: “I had a great time at Columbia. Because of the training and the friends I made there, I’m still working in the entertainment world today. Well, sort of working. (laughs) One reason I chose Columbia was because their teaching staff were also employed in the fields they were instructing. Sheldon Patinkin, Alan Wilder, Estelle Spector and Norm Holly, to name a few. Norm ran this really formative class called Comedy Workshop. I hadn't written any sketches probably since high school, so I think I was fairly enthusiastic about getting back into that mindset. That’s also where I first met Mike Monterastelli, Laly Torres, JP Lubow, Dino Stamatopoulos, Jay Johnston. This is where Mike and I wrote the sketches that later became full-length shows at the Annoyance -- Goombahs! and Bastards! I’m not yelling, the titles just have exclamation points.”
Columbia College Chicago
(1988-1990)
ERIC: “I had a great time at Columbia. Because of the training and the friends I made there, I’m still working in the entertainment world today. Well, sort of working. (laughs) One reason I chose Columbia was because their teaching staff were also employed in the fields they were instructing. Sheldon Patinkin, Alan Wilder, Estelle Spector and Norm Holly, to name a few. Norm ran this really formative class called Comedy Workshop. I hadn't written any sketches probably since high school, so I think I was fairly enthusiastic about getting back into that mindset. That’s also where I first met Mike Monterastelli, Laly Torres, JP Lubow, Dino Stamatopoulos, Jay Johnston. This is where Mike and I wrote the sketches that later became full-length shows at the Annoyance -- Goombahs! and Bastards! I’m not yelling, the titles just have exclamation points.”
Flyer for a Comedy Workshop performance at Columbia College Chicago. (art not by Eric Hoffman)
Running order for the Comedy Cabaret sketch show at Columbia College Chicago.
ERIC: "Along with writing I was also getting back into art. I was coming off a three year stint in the military where there wasn't really time or need for those abilities. This flyer (below) was for a party we were throwing. I drew it and we posted one on the third floor bulletin board at the Columbia Theatre Building. We were shocked at the amount of people who showed up. But at long last I could finally include 'party flyer' on my art resume. (laughs)"
ERIC: "More of the random cool people/spies that I enjoy drawing."
"Blithe Spirit" cast from Columbia College Chicago. Directed by Anna D. Shapiro.
Columbia College project by Eric Hoffman. The silhouette figure would return on the "Plan B" poster. (see below)
A benefit performance featuring Eric Hoffman. (artwork not by Eric Hoffman)
"Secret Agent Family" Eric Hoffman, Kara Zediker in a student film directed by Mike Monterastelli and co-written by Eric.
Balm In Gilead
(1989) Role: The Stranger. Actor. Drama stage play. Written by Lanford Wilson. Directed by Anna D. Shapiro. Big Game Theatre, Chicago, IL.
ERIC: “One of my few dramatic roles, for those keeping score. A brilliant production. A real murderer’s row of Chicago acting and producing talent. As the character The Stranger, I had the brief, nightly honor of stabbing the main character in the heart with a large syringe. (laughs) I think he owed my boss money for drugs. It happens. Also, Keanu Reeves stopped by and hung out during a rehearsal break, which was pretty cool. He knew someone in the cast. Or, maybe he heard about my syringe scene. Who knows. (laughs)”
(1989) Role: The Stranger. Actor. Drama stage play. Written by Lanford Wilson. Directed by Anna D. Shapiro. Big Game Theatre, Chicago, IL.
ERIC: “One of my few dramatic roles, for those keeping score. A brilliant production. A real murderer’s row of Chicago acting and producing talent. As the character The Stranger, I had the brief, nightly honor of stabbing the main character in the heart with a large syringe. (laughs) I think he owed my boss money for drugs. It happens. Also, Keanu Reeves stopped by and hung out during a rehearsal break, which was pretty cool. He knew someone in the cast. Or, maybe he heard about my syringe scene. Who knows. (laughs)”
"Balm In Gilead" program. (artwork not by Eric Hoffman)
The Ralph the Robot Show
(1989) Role: Ralph the Robot/Various. Voice/operator of robot/writer/actor/producer. Children’s TV show. EGTV Channel 6, Elk Grove, IL.
ERIC: “This is one of those jobs that I would take for the experience of it. Just to say I’d worked on a children’s program. I was able to bring my writing, art and performing to the show. And it was a lot of fun, too. We would shoot most of an episode in a small TV studio in Elk Grove. I would be in another room, watching a monitor, controlling the robot via a remote device, and doing the voice into a microphone which was piped into the studio speakers. Ralph could move pretty good, back and forth, spin in circles. And there was a button that flicked his hat up about a quarter of an inch, with an accompanying loud click. You heard it more than saw it. (laughs) At first it was all improvised, the show intros, the craft segments. But eventually I was writing and directing sketches for Ralph. I guess the producers had approached Columbia Theatre Department and Norm Holly suggested me for the job.”
(1989) Role: Ralph the Robot/Various. Voice/operator of robot/writer/actor/producer. Children’s TV show. EGTV Channel 6, Elk Grove, IL.
ERIC: “This is one of those jobs that I would take for the experience of it. Just to say I’d worked on a children’s program. I was able to bring my writing, art and performing to the show. And it was a lot of fun, too. We would shoot most of an episode in a small TV studio in Elk Grove. I would be in another room, watching a monitor, controlling the robot via a remote device, and doing the voice into a microphone which was piped into the studio speakers. Ralph could move pretty good, back and forth, spin in circles. And there was a button that flicked his hat up about a quarter of an inch, with an accompanying loud click. You heard it more than saw it. (laughs) At first it was all improvised, the show intros, the craft segments. But eventually I was writing and directing sketches for Ralph. I guess the producers had approached Columbia Theatre Department and Norm Holly suggested me for the job.”
Ralph.
ERIC: "They didn't credit Ralph's voice. But a smart kid could figure out there were no 'additional' voices."
Plan B
(1989) Roles: Various. Writer/actor. Comedy sketch show. Directed by Laly Torres. Club Dreamerz, Chicago, IL.
ERIC: "This was put together by a good friend, Laly Torres. She got us into this space above Club Dreamerz in Whicker Park, which was still kind of a dicey area. The plan was to do an original play, but something happened and we ended up doing a last minute sketch show instead, appropriately titled Plan B. Laly asked me to whip up a poster with a Clone Theatre logo. The silhouette figures and the random sort of cool guy/spy guy were elements I liked using wherever possible."
(1989) Roles: Various. Writer/actor. Comedy sketch show. Directed by Laly Torres. Club Dreamerz, Chicago, IL.
ERIC: "This was put together by a good friend, Laly Torres. She got us into this space above Club Dreamerz in Whicker Park, which was still kind of a dicey area. The plan was to do an original play, but something happened and we ended up doing a last minute sketch show instead, appropriately titled Plan B. Laly asked me to whip up a poster with a Clone Theatre logo. The silhouette figures and the random sort of cool guy/spy guy were elements I liked using wherever possible."
Poster for "Plan B" by Eric Hoffman.
Program cover for "Plan B". Logo and title by Eric Hoffman.
Club Dreamerz (photo from the internet)
Trent: A Light Tragedy with Music
(1990) Role: Bob. Actor. Comedy musical play. Written/directed by Dino Stamatopoulos. Music by Tom Bell. Annoyance Theatre, Chicago, IL.
ERIC: “Laly Torres (director of Plan B), invited me to one of the first performances of the musical Coed Prison Sluts, which I loved. Sometime later Laly said she and the Sluts folks had started their own theatre, the Annoyance, and they were looking for similar kinds of shows to put up. Then I believe Laly and/or I mentioned this to Dino. Trent was a super funny show and quite touching, and I was honored to be in a stellar cast that included Tom Bell, Audrey Kissell, Brian McCann, Michelle Lovett and Jimmy Carrane. So that was my first show at the Annoyance. I also did the artwork for the original Trent poster, from Dino's idea. It had to be very simple, graphically. It was a small story, tragic, so no need for my usual cartoonyness.”
(1990) Role: Bob. Actor. Comedy musical play. Written/directed by Dino Stamatopoulos. Music by Tom Bell. Annoyance Theatre, Chicago, IL.
ERIC: “Laly Torres (director of Plan B), invited me to one of the first performances of the musical Coed Prison Sluts, which I loved. Sometime later Laly said she and the Sluts folks had started their own theatre, the Annoyance, and they were looking for similar kinds of shows to put up. Then I believe Laly and/or I mentioned this to Dino. Trent was a super funny show and quite touching, and I was honored to be in a stellar cast that included Tom Bell, Audrey Kissell, Brian McCann, Michelle Lovett and Jimmy Carrane. So that was my first show at the Annoyance. I also did the artwork for the original Trent poster, from Dino's idea. It had to be very simple, graphically. It was a small story, tragic, so no need for my usual cartoonyness.”
ERIC: "Laly was trying to get me involved with the Annoyance early on. She asked me to understudy for a musical she directed there called Motel Smegma. That's where I first met Matt Walsh, Ed Furman, Matt Besser, Tony Stavish and David Adler."
Bastards!
(1991) Role: C.C. Shankar. Writer/actor/producer. Comedy play. Written/produced by Eric Hoffman, Michael Monterastelli. Directed by Michael J. Stewart. Lighting design by Dan Tamarkin. Sound: David Babbitt. Annoyance Theatre, Chicago, IL. BLAH! Productions.
ERIC: "This was a comedy play written and produced with my buddy Mike Monterastelli under the name BLAH! Productions. We had a thing for exclamation points back then. Very silly and fast-paced. We were very much influenced by Blake Edwards, Hunter S. Thompson, and Harvey Korman. As I recall, the Annoyance weren't really looking for any new members at the time, but owner Mick Napier was finally worn down by our incessant visits to the theater and to the local bar where he hung out. (laughs) Poor guy. We literally would not stop pestering him. I've never done that before or since, but we knew it in our souls that we belonged there. Mick was always very decent about it, of course. He just didn't know us and everybody was asking to do shows at Annoyance. I think I remember the three of us sort of bonding over a show we all hated. (laughs) Luckily my days in the army prepared me for the sheer volume of drinking it took. Mick was very gracious though and let us do our skit. Thank god, too, because I desperately needed somewhere to express myself on a regular basis. And the cast of Bastards! were brilliant. All from Columbia College Chicago. They definitely made the material seem better than it was. And I'd met our lighting designer Dan Tamarkin while we were both working at a Levy Restaurant near the Water Tower. Chicago is always filled with amazing people with amazing talent."
(1991) Role: C.C. Shankar. Writer/actor/producer. Comedy play. Written/produced by Eric Hoffman, Michael Monterastelli. Directed by Michael J. Stewart. Lighting design by Dan Tamarkin. Sound: David Babbitt. Annoyance Theatre, Chicago, IL. BLAH! Productions.
ERIC: "This was a comedy play written and produced with my buddy Mike Monterastelli under the name BLAH! Productions. We had a thing for exclamation points back then. Very silly and fast-paced. We were very much influenced by Blake Edwards, Hunter S. Thompson, and Harvey Korman. As I recall, the Annoyance weren't really looking for any new members at the time, but owner Mick Napier was finally worn down by our incessant visits to the theater and to the local bar where he hung out. (laughs) Poor guy. We literally would not stop pestering him. I've never done that before or since, but we knew it in our souls that we belonged there. Mick was always very decent about it, of course. He just didn't know us and everybody was asking to do shows at Annoyance. I think I remember the three of us sort of bonding over a show we all hated. (laughs) Luckily my days in the army prepared me for the sheer volume of drinking it took. Mick was very gracious though and let us do our skit. Thank god, too, because I desperately needed somewhere to express myself on a regular basis. And the cast of Bastards! were brilliant. All from Columbia College Chicago. They definitely made the material seem better than it was. And I'd met our lighting designer Dan Tamarkin while we were both working at a Levy Restaurant near the Water Tower. Chicago is always filled with amazing people with amazing talent."
"Bastards!" poster by Eric Hoffman.
"Bastards!" poster ideas by Eric Hoffman.
"Bastards!" review by NewCity Chicago.
Mick Napier fixing stuff. Annoyance on Broadway. Photo by Eric Hoffman.
The Bean Can Tour
(1992-1995) Roles: Various. Writer/actor/show coordinator. Comedy sketch show. Annoyance Theatre, Chicago, IL.
Winner: Best Bean Can Scene: Brainwarp Meets Pinky and Chili (Annoyance Theatre Ducky Award)
ERIC: “The first official Annoyance show I was asked to contribute to. And I was there practically every Saturday night for the next three years. It was a lot of fun. Getting ideas from people you saw on public transit or in the restaurant you worked. Even in a parody, which we rarely did, I'd try to make it weird. Like this thing I wrote called "Oliver Stone's The Knack" -- I included this loop of the opening drumbeat to My Sharona -- the part just before the other instruments kick in. And that played 30 times over and over -- the drummer just keeps repeating, because the rest of the band are arguing over something trivial -- he's waiting for them to join in while he's playing the drum intro. Finally they finish yelling after 30 loops just as the song starts playing. We had to time everything just right. Scot Robinson was the drummer, Matt Walsh the bassist, and I was Doug Feiger shouting at Rich Fulcher. (laughs) The live audiences made it. I don't think they were seeing stuff like that or Ask Bloody Jesus anywhere else in town.”
(SEE BEAN CAN SCRIPTS AT END OF ARTICLE)
(1992-1995) Roles: Various. Writer/actor/show coordinator. Comedy sketch show. Annoyance Theatre, Chicago, IL.
Winner: Best Bean Can Scene: Brainwarp Meets Pinky and Chili (Annoyance Theatre Ducky Award)
ERIC: “The first official Annoyance show I was asked to contribute to. And I was there practically every Saturday night for the next three years. It was a lot of fun. Getting ideas from people you saw on public transit or in the restaurant you worked. Even in a parody, which we rarely did, I'd try to make it weird. Like this thing I wrote called "Oliver Stone's The Knack" -- I included this loop of the opening drumbeat to My Sharona -- the part just before the other instruments kick in. And that played 30 times over and over -- the drummer just keeps repeating, because the rest of the band are arguing over something trivial -- he's waiting for them to join in while he's playing the drum intro. Finally they finish yelling after 30 loops just as the song starts playing. We had to time everything just right. Scot Robinson was the drummer, Matt Walsh the bassist, and I was Doug Feiger shouting at Rich Fulcher. (laughs) The live audiences made it. I don't think they were seeing stuff like that or Ask Bloody Jesus anywhere else in town.”
(SEE BEAN CAN SCRIPTS AT END OF ARTICLE)
Best Bean Can Scene: "Pinky & Chili Meet Brainwarp". Co-written by Eric Hoffman.
The Bean Can Tour: "Pinky & Chili Meet Brainwarp" sketch.
ERIC: "Along with the sketches I would write myself or with Mike Monterastelli, in Bean Can there were a few recurring bits and characters we'd roll out once in awhile. Joe Bill, Matt Walsh and myself wrote and performed these silent sketches, 'Pale Guys Go To The Beach.' 'Pale Guys On The Sun.' Pale Guys in different scenarios, but always dealing with their pale-ness. (laughs) I myself am very pale. I have to put suntan lotion on my roof. (laughs) And we also had these sort of rat pack characters we did a few times. Which is where the Red Sandwich character came about."
The Bean Can Tour: Pat Walsh, Eric Hoffman, Madeline Long, Scot Robinson, Rich Fulcher, Mike Monterastelli, Matt Walsh.
Goombahs!
(1992) Role: Vito Buzzini. Writer/actor/director. Comedy play. Written by Eric Hoffman, Michael Monterastelli. Directed by Eric Hoffman. Musical director David Adler. Lighting design by Dan Tamarkin. Costumes by Tony Stavish. Annoyance Theatre, Chicago, IL.
Winner: Top Five Shows of the Year (New City Chicago)
Winner: Outstanding Production (Annoyance Theatre Ducky Award)
Winner: Outstanding Director (Annoyance Theatre Ducky Award)
ERIC: “This was the second show I co-wrote with Mike Monterastelli. We had a blast putting this one together. We'd just finished the run of Bastards! and we were itching to do a big show next. Something big with violence and pizza. (laughs) Goombahs! was definitely a fun show to perform and just a perfect cast and crew. You couldn't ask for better, that's a big part of why it ran so long. Writing wise, to me Goombahs! was a good example of a parody or whatever that also works as a valid example of what it's parodying. Even with all the jokes we still tried to make it a suspenseful gangster story, played with conviction. And it wasn't based on a book. That was just part of the satire, like it was this literary thing like the Godfather or Goodfellas. Some reviews believed it. This was right before you could easily check that kind of thing online.”
(1992) Role: Vito Buzzini. Writer/actor/director. Comedy play. Written by Eric Hoffman, Michael Monterastelli. Directed by Eric Hoffman. Musical director David Adler. Lighting design by Dan Tamarkin. Costumes by Tony Stavish. Annoyance Theatre, Chicago, IL.
Winner: Top Five Shows of the Year (New City Chicago)
Winner: Outstanding Production (Annoyance Theatre Ducky Award)
Winner: Outstanding Director (Annoyance Theatre Ducky Award)
ERIC: “This was the second show I co-wrote with Mike Monterastelli. We had a blast putting this one together. We'd just finished the run of Bastards! and we were itching to do a big show next. Something big with violence and pizza. (laughs) Goombahs! was definitely a fun show to perform and just a perfect cast and crew. You couldn't ask for better, that's a big part of why it ran so long. Writing wise, to me Goombahs! was a good example of a parody or whatever that also works as a valid example of what it's parodying. Even with all the jokes we still tried to make it a suspenseful gangster story, played with conviction. And it wasn't based on a book. That was just part of the satire, like it was this literary thing like the Godfather or Goodfellas. Some reviews believed it. This was right before you could easily check that kind of thing online.”
"Goombahs!" poster by Eric Hoffman.
Original poster sketch by Eric Hoffman.
Cast of "Goombahs!"
"Goombahs!" show description from Annoyance show pamphlets. Written by Eric Hoffman and Mike Monterastelli.
The Ducky Awards
(1992-1995) Roles: Various. Writer/actor. Theatre awards show. Annoyance Theatre, Chicago, IL
(1992-1995) Roles: Various. Writer/actor. Theatre awards show. Annoyance Theatre, Chicago, IL
Special performance of the Ducky-nominated "Deadline Dance" number from "Goombahs!" for the Annoyance Ducky Awards show.
Eric Hoffman's original concept sketch for the Deadline Dance production number in the Ducky Awards.
The Chiggers
(1992) Role: Scabby the Cow puppeteer. Guest writer/actor. Comedy musical play. Directed by Mark Sutton. Annoyance Theatre, Chicago, IL.
Winner: Best Use of an Animal (Annoyance Theatre Ducky Award)
ERIC: “EJ Peters and Annie Watson and Mark Sutton created this hilarious show about a mother-daughter country music act. And Mike Monterastelli and myself were honored to be guests. Lily Tomlin was in the audience that night, which was pretty damn cool. I came up with a last-minute bit for the curtain call. I was the puppeteer for Scabby the Cow, so you didn’t see me in the sketch. Annoyance had a ramshackle costume/dressing room in the basement, so I grabbed a moustache, bow tie and formal jacket, and came out for my bow looking very conceited and above it all, which got a good response. That was part of the fun of shows like that, being able to try something at the last minute, adding a joke to the curtain call.”
(1992) Role: Scabby the Cow puppeteer. Guest writer/actor. Comedy musical play. Directed by Mark Sutton. Annoyance Theatre, Chicago, IL.
Winner: Best Use of an Animal (Annoyance Theatre Ducky Award)
ERIC: “EJ Peters and Annie Watson and Mark Sutton created this hilarious show about a mother-daughter country music act. And Mike Monterastelli and myself were honored to be guests. Lily Tomlin was in the audience that night, which was pretty damn cool. I came up with a last-minute bit for the curtain call. I was the puppeteer for Scabby the Cow, so you didn’t see me in the sketch. Annoyance had a ramshackle costume/dressing room in the basement, so I grabbed a moustache, bow tie and formal jacket, and came out for my bow looking very conceited and above it all, which got a good response. That was part of the fun of shows like that, being able to try something at the last minute, adding a joke to the curtain call.”
The Sex Show
(1993) Guest writer/actor. Comedy variety show. Directed by the Beth and Kris Cahill. Annoyance Theatre, Chicago, IL.
ERIC: "I really like these kinds of theme shows. Beth and Kris always put together brilliant productions like this one. There were five of us in a group and we all contributed bits to this ridiculous 1920s style exercise routine to the song "Good Girls Don't" by the Knack, of course. That was our contribution to a show about sex. (laughs)"
(1993) Guest writer/actor. Comedy variety show. Directed by the Beth and Kris Cahill. Annoyance Theatre, Chicago, IL.
ERIC: "I really like these kinds of theme shows. Beth and Kris always put together brilliant productions like this one. There were five of us in a group and we all contributed bits to this ridiculous 1920s style exercise routine to the song "Good Girls Don't" by the Knack, of course. That was our contribution to a show about sex. (laughs)"
"Good Girls Don't" - (top) Mike Monterastelli, Matt Besser. (floor) Jay Johnston, Matt Walsh, Eric Hoffman.
Brainwarp the Baby Eater
(1993) Role: Brainwarp. Writer/actor. Comedy play. Directed by Ed Furman. Musical director David Adler. Lighting design by Dan Tamarkin. Annoyance Theatre, Chicago, IL.
Winner: Best of the Year (Perform Ink)
Winner: Best Late Late Show (New City Chicago)
Winner: Outstanding Actor (Annoyance Theatre Ducky Award)
ERIC: “Brainwarp is another character that is so much fun to write. The world’s stupidest criminal with the world’s worst “hook.” Bob Odenkirk remarked that the character can say anything, basically. Which is true. He gets away with saying the things he says because he's incredibly idiotic and strange. Nuclear powered idiocy. The character was created in high school - born out of my affection for Batman ‘66, Capt. Klutz, Not Brand Ecch, Inferior Five, and Superduperman. This Annoyance production was a phenomenal collection of talent. Starting with director Ed Furman. He was the only person who could've pulled this off. He made it weird and kept it weird, which is exactly what it needed. And, this is another instance where a sketch was ultimately expanded into a full show."
(1993) Role: Brainwarp. Writer/actor. Comedy play. Directed by Ed Furman. Musical director David Adler. Lighting design by Dan Tamarkin. Annoyance Theatre, Chicago, IL.
Winner: Best of the Year (Perform Ink)
Winner: Best Late Late Show (New City Chicago)
Winner: Outstanding Actor (Annoyance Theatre Ducky Award)
ERIC: “Brainwarp is another character that is so much fun to write. The world’s stupidest criminal with the world’s worst “hook.” Bob Odenkirk remarked that the character can say anything, basically. Which is true. He gets away with saying the things he says because he's incredibly idiotic and strange. Nuclear powered idiocy. The character was created in high school - born out of my affection for Batman ‘66, Capt. Klutz, Not Brand Ecch, Inferior Five, and Superduperman. This Annoyance production was a phenomenal collection of talent. Starting with director Ed Furman. He was the only person who could've pulled this off. He made it weird and kept it weird, which is exactly what it needed. And, this is another instance where a sketch was ultimately expanded into a full show."
"Brainwarp The Baby Eater" poster by Eric Hoffman. (Inset) Eric as Brainwarp. And, NewCity review.
"Brainwarp" show description. Written by Ed Furman.
Eric: "I was in 5 shows a week, with occasional appearances
in 3 others. I attribute that energy to having the most fun of my life and never wanting it to stop. That and beer."
ERIC: "They weren't all good reviews from Jack Helbig. But this one was. RIP."
ERIC: "One of director Ed Furman's awesome promo ideas. I painted this giant Brainwarp head which was positioned on the roof of the Annoyance building."
Spine-biting Mystery Funnies #1
(1993) Writer/cartoonist/producer/publisher. Promotional comic book. Self-published.
ERIC: “This was a promotional comic book for the Brainwarp show. I’m continually amazed at the amount of people who have held onto their copies of this and the follow-up, issue two. I was very conscious of the Annoyance aesthetic as far as the artwork goes. I didn't think a polished, well-inked presentation suited the general atmosphere one would experience when you walked through the theater doors. It had to be sloppy, not concerned with its appearance, except to be entertaining. Luckily that fit perfectly with the character."
(1993) Writer/cartoonist/producer/publisher. Promotional comic book. Self-published.
ERIC: “This was a promotional comic book for the Brainwarp show. I’m continually amazed at the amount of people who have held onto their copies of this and the follow-up, issue two. I was very conscious of the Annoyance aesthetic as far as the artwork goes. I didn't think a polished, well-inked presentation suited the general atmosphere one would experience when you walked through the theater doors. It had to be sloppy, not concerned with its appearance, except to be entertaining. Luckily that fit perfectly with the character."
MISCELLANEOUS ART
Eric drew the figure art only on this poster for a local production of Psycho Beach Party.
SKETCHES
"This Guy Again" & "Borrows Things"
ERIC: "These two short sketches were written in 1992 and 1993 and were performed in the Annoyance Theatre’s late night sketch show, The Bean Can Tour. These are weird ones, I suppose. And typical of the style of some of the sketches I was writing and performing at that time. Very stilted, anti and meta comedy - I don’t know what it was. Very silly. I enjoyed scenes that had to be performed in a very specific way in order to be successful. (laughs) I first pitched This Guy Again at a rare pre-show meeting for the Bean Can Tour. Rare because normally Bean Can was slapped together over several beers during the Friday night line-up of shows, the last being Coed Prison Sluts. Sluts would end around 12:30 in the morning, and Bean Can would begin around 1 am. So I had the beginning of the scene written, the part in the restaurant, and it was my buddy Matt Besser of UCB who suggested the awesome ending sequence. The sort of infinite regression."
____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
ERIC: "Borrows Things was one of those scenes that Mike Monterastelli and I would rehearse over and over to get it exactly right. Stilted and awkward pauses. To me it seemed like this was an interesting time for comedy in Chicago. Second City was number one and rightly so, but there were other scenes happening, with the likes of the Annoyance, Improv Olympic, Jazz Freddy, Improv Institute, and others. I had moved to Chicago with a soft mission to maybe try to join the Second City. Once I saw the creative freedom that Mick Napier was implementing at the Annoyance, I knew that's where I wanted to be."
COMING SOON
---------- CHICAGO YEARS - PART #2 ----------
---------- CHICAGO YEARS - PART #2 ----------
Show signs outside the Annoyance Theatre on Broadway.
Chicago. 1989.