Charleston City Paper (Vol. 14)

Charleston City Paper

Yeah, The Cody Rivers Show Is That Good:
‘Meanwhile, Everywhere’ Gets a Gold Star

by Jason A. Zwiker

Fair warning: if it’s your first time seeing The Cody Rivers Show, prepare to be taken completely by surprise.

Here’s how it begins: two guys walk out on stage, in wrestling gear, and begin soliloquizing… while performing a kind of synchronized dance.

What you won’t realize until it’s far too late is that there’s something hypnotic about those words and those steps. By the time Andrew Connor and Mike Mathieu have segued into the next act of the spiraling rollercoaster ride that is Meanwhile, Everywhere, the audience has long since stopped worrying about what’s going on.

Chalk it up to these guys being brilliant with words and comic timing, or call it a testament to a show that’s honed as sharp as a sushi chef’s knives: either way, this is fiendishly funny.

Not that Connor and Mathieu are fiends, of course. Quite the contrary, Meanwhile, Everywhere doesn’t have a mean bone in its body. That’s refreshing: far too many comedians base entire routines on sharp pokes at easy targets. These guys get you thinking without even realizing that you’re thinking. The love they have for the personalities they dance through onstage is obvious.
The ease with which they flip from one madcap scene to another is disarming. It feels like they have to be making this stuff up as they go along, but it’s just too spot-on perfect for that.

There really is no defense against this two-front attack: the surreal physical movements mesmerize while the linguistic gymnastics deftly reprogram the minds of the audience (who leave the show certain that cameramen really are pirates).

So why fight it? Cameramen are pirates, true enough. Greenland is funny, and Opposite Day makes any conversation more enlightening.

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