By Catherine Wagley
By Channing Sargent
By L.A. Weekly critics
By Amanda Lewis
By Catherine Wagley
By Carol Cheh
By Keegan Hamilton
By Bill Raden
Is it Loh? Her sin was letting “fuck” slip into one of her prerecorded episodes for KCRW during the post–Super Bowl Tit/FCC-inspired decency tornado, which snagged up Loh and tossed her around with Janet Jackson, Howard Stern and Bubba the Love Sponge. “I’m not a media whore,” Loh explained. “I’m a media hooker.” Nice distinction. Still, how many disgruntled employees get to rail against their ex-boss on the op-ed page of the L.A. Times, and then spin it into a new performance?
Could it be Joe Frank? After an 11-year stint on KCRW, Seymour “retired” him for reasons, illuminated by Frank onstage, that have nothing to do with bad language. If he were a grownup, would he still be harping on a seven-year-old pink slip? Well, maybe.
Perhaps it’s the crowd lining the sidewalk to get into Evidence Room, as though KCRW’s intrigues, and all they signify, really matter. Don’t we all have anything better to do? Of course not. That’s why we’re here.
Smart and funny in their respective works in progress (directed by David Schweizer), Loh and Frank used contrary approaches to grapple with their fury, and with the continental divide between what’s “appropriate” and what’s funny. With self-effacing introspection, Loh reached outward — from Lenny Bruce to Muslim women being shot for “indecency” — to fathom the significance of her job termination.
Frank turned inward with a droll and obsessive short story about a former impulsive and despotic employer at a radio station where he once worked. The sight of a paraplegic guiding his wheelchair via a tube connected to his mouth should make one count one’s blessings, Frank intoned. But rage against that Westside radio boss keeps crashing into his grace, and propelling his story.
Loh and Frank appeared almost heroic in their shared curtain call, as though they had just stood up to the tyranny of apartheid rather than the tyranny of Seymour. In moments like that, we’re all America’s children.