Last night, the 120th Annual Varsity Show had its West End Preview at Havana Central. Theater neophyte Sean Augustine-Obi and grizzled veteran Alexandra Warrick were in attendance. Here are their thoughts on the performance.
![]()
The pillar added character.
At Columbia, second chances are few and far between. So when the decision was made to have Eric Donahue of V119 fame co-write this year’s Varsity Show, with much of the same cast as last year, I was torn. Would this be a chance to address the criticisms and shortcomings of last year’s show, or would it fall short of expectations? Judging from the content in the West End Preview, the potential exists for this to be a Varsity Show that avoids many of last year’s pitfalls and showcases ever-present Columbian sensibilities.
While the West End Preview aims to emulate the real thing, certain aspects that differ from the upcoming May performance, such as the lighting, the set pieces, and the venue, make it a unique experience in itself. (A large pillar by the stage was the performance’s 6th man). Rather than one overarching plot, the show functions more as a tour through various Columbia-related threads while introducing the main characters.
Although the preview isn’t meant to spoil the storyline of the full play, a few plotlines were pretty reminiscent of last year’s Veesh. For example, a brief scene had a tyrannical RA character force one of her sexiled residents back into his room, not unlike Vivica in V119. (“Oh God, the passion is so palpable!”) And while the words “weather machine” never made it to the script, the preview included warnings of a winter apocalypse, an announcement by James McShane cancelling classes, and mentions of snow falling heavily enough to allow a swim test across Broadway. While weather-related quips are timeless and accessible to all the undergraduate schools, as opposed to Columbia College-specific jokes, I’m somewhat skeptical that this type of humor will manage to have the same impact come May.
The script relied on some traditional fallbacks that brought several laughs - frat stereotypes (“I’ve never met anyone so obnoxious, and my roommate was in ADP!”), pop culture references (Lorde and House of Cards abounded), and Columbia mainstays (Lerner ramps!). To add to the humor, the preview’s cast of characters played off classic Columbia stereotypes, such as a “pre-med engineer high on Ritalin.” But while some characters were hits with the crowd, others, such as a hipster girl from Writer’s House performing slam poetry, and a dance instructor conducting a recital via Facetime, were less endearing and led to a few awkward silences.
Veesh continued its commitment to sex-positivity with a scene about a McBain resident (Ellie Beckman) watching a threesome across the Shaft, ending in an invitation for the peeping Tom to join in. A later development involved a student and his absentee roommate, a stereotypical headphones-wearing football player frustrated with the team’s performance. After some awkward small talk, the two suddenly started making out, which got a lot of cheers. The two actors had a great dynamic, and I’m looking forward to see how it plays out in the full performance.
Each year, the cast’s vocals and musical ensemble are highlighted as the Varsity Show’s strong points. In this department, Sam Balzac in particular delivered, and Elizabeth Sun stood out on violin. Some of the song’s lyrics, though, were hit or miss. The first song about Columbia’s nightlife and the “campus that never sleeps” was quite memorable, but the second song was probably the show’s weakest offering. After building up the mood between two characters, Rob and Jenny, including a somewhat dated Titanic reference, the two lovers...took out Hamdel sandwiches and performed a musical number where they asked the audience,” Can you read the subtext?” Puns aside, a later song about protest had cleverer lyrics, playing off of Columbia’s “Spirit of 68 (or 69, or 67, or whatever)” to deliver an entertaining number about how Columbians “invented useless protest.” One great line encapsulated popular sentiments: “I protest everything cause that’s just who I fucking am!”
Undoubtedly, the scene that stole the show featured a pompous PrezBo, his cluess intern, and the newly appointed naive Student Affairs Dean Pipstein. With several CU-specific jokes that hit the mark — “We used to be St. A’s without the cocaine! — the audience was left rolling with laughter. The scene also included a great musical number by the PrezBo and Pipstein characters about the decline of Ivy League elitism and the need for Columbians to “bleed blue.” Looks like #4 just isn’t good enough anymore.
The V120 Mission statement says that this year, “we will push the boundaries of the model of The Varsity Show to create a product that is fun and meaningful as its process.” Judging from the West End Preview, they seem to be on their way toward that goal. The humor was light, but fitting, and the potential exists for a compelling plot where disillusioned protesters impeach PrezBo. This would not only address many of the criticisms of “The Great Netscape,” but also offer Veesh the chance to capture many of the issues currently on the campus zeitgeist, such as discussions about activism and the status quo. As long as the creative team sticks with what works and is willing to toss out what doesn’t, this year’s Varsity Show is sure to deliver.
![]()
Packed house.
I’m just going to come out and say it: I am an absolute Varsity Show virgin. As a freshman tentatively wading into the theatre scene here on campus, I’d heard murmurs about Veesh from day one - its cultlike reputation, its supposed hyperselectiveness, and the fact that, when you’re in VShow, you’re in VShow, to the exclusion of all other extracurricular dabblings - but when I entered the back room of Havana Central for their West End Preview last night, I hadn’t so much as seen a YouTube clip and knew nothing of the show’s typical tone.
When the fresh-faced, energetic, and undeniably talented V120 team launched into their opening number, my first question was whether we were meant to read Veesh as self-aware or as...played entirely straight. The smiles were near manic, reminiscent of squeaky-clean acapella rictus grins. The gang deserved props, however, for pulling off a high-energy, committed performance in such a non-optimal space (the performance “stage” was shallow, undergrads were crammed into every nook, and a big ol’ column stood directly in the middle of the space.) Then again, disgruntled yuppies always tend to pull off Fight Clubs in cramped basements, so maybe working with what you have can elevate your efforts.
Before I get to any gushing - which is warranted for several aspects of this production - I’ll first get to what has primarily nagged me about VShow. This Veesh (and, I’m told by a smattering of seniors) can have moments of really killer writing, but sometimes slides into an area I’m going to dub Buzzword Humor. Buzzword Humor is a gag style where the joke is that they mention a thing on campus, like a building or a local bar, and everyone chortles because hey, it’s a thing that’s a thing. The two predominant brands of Buzzword Humor in the preview that I noticed were the one that centered on THE YOUTH (kids inexplicably said “peeps” and “turnt” a bunch, a couple young whippersnapper acronyms like “FOMO” and “YOLO” were awkwardly fucked into the script back-to-back) and COLUMBIA STUFF (HamDel, Glasshouse Rocks, and the inevitable barrage of Prezbo jokes.) It got to a weird point where the crowd chuckles at namedrops like Lerner Ramps felt hollowly Pavlovian - are you laughing because it’s funny, or because it’s a bit of Columbiana that you recognize? Which is not to say Buzzword Humor is broken - at its best that night, it made for really snappy scene stingers, such as an observation on the struggles of life filtered through Beyonce and a grouchy dismissal of our generation in a reference to our “Macbooks and Kanyes.”
It has to be acknowledged that the Varsity Show is a difficult one to write - with every new year, you need to find new ways to approach familiar campus topics and string disparate concepts neatly into a cohesive show, so I really admire Eric Donahue’s moxie in attacking the job not once but twice. However, shouldn’t Columbia University and its - sorry to sound hackneyed - vibrant community be a stepping-off point for wildly divergent plotting, not just a source for a litany of jargon meant to elicit cheaply-won laughs? Also, the parodic nature of VShow means that characters do have to be painted with sort of a broad brush, as the show aims to poke fun at certain campus characters you tend to see around MoHi. Stock characters are not necessarily “bad” characters. But what makes a stock character pop are the specific quirks you weave into the general template of the character.
A solid example would be John Mulaney and Bill Hader’s collaborative work on the Saturday Night Live character Stefon. If given an archetype like “preening club kid”, you could write something recognizable, funny, but ultimately forgettable. What Mulaney and Hader did was give the character a panoply of identifying quirks and specifics that pushed the performance past lazy stock. Having a “Writer’s House Beatnik” character stand on a chair and bark “God is dead” does not an incisive parody make, regardless of the performer’s own charisma.
An additional nagging thought: I’m withholding my judgement before I see V120 in full, but I’d really love to see a dark Veesh, a weird Veesh, a Veesh that gets edgy, taboo, confrontational. I’d like to see a Veesh that takes risks like creepy-ass discordant Sondheim scoring, that maybe even plunges into meta, self-parody territory. I want to see a Veesh that stares directly into the void and lets the void stare back at...okay I’m losing my train of thought here, but I realize that, going off of what older students have told me, Varsity Show is a Columbia tradition as comforting and dependable as a JJs grilled cheese and is almost obligated to appeal to a broader audience.
With all that nattering out of the way, there were some really divine moments of the West End Preview where the crowd absolutely exploded and I understood the hype entirely. The always charming Sam Balzac and spunky Lindsay Garber won the room’s hearts with a supercute, cleverly-written duet, the unconventional conceit of which centered on the aphrodisiac qualities of HamDel. A vignette in which a pair of roommates’ awkward and stilted relationship spontaneously takes a turn for the homoerotic tore down the house - as any Latenite kid knows, nothing beats a well-placed bout of unexpected macking - and a snippy dubbing of Maison Francaise as the “murder shack next to Kent” was an oddball gem. The best number of the night was far and away a saucy, sinuous song by Prezbo, played with a showboating, Billy Flynn verve by Sean Walsh, with a floppy-haired, earnest Kyle Marshall complimenting his mannered villainy as Dean Pipstein.
The night’s sampler ended with a strident student rebellion song against Prezbo’s snow day-related tyranny that struck the closest to my expectations of Veesh, as it Trojan Horse-d in a pretty pointed, incisive criticism of student mentalities that went beyond simple “lol hipster” dismissiveness. The cast sings of rebellions of years past but get the dates and details blithely wrong, and one student even asserts that her snow-related struggle is more extreme than conflicts over oppression in Columbia’s past, solipsistically claiming it is “worse because it’s happening to me.” The song absolutely nails how messy and disorganized mobilizing for change on campus can be, and it’s also a pretty funny riff on Les Mis’ cadre of student freedom fighters.
In conclusion: should you see V120? Yes, you should. Will it be a mixed bag? I assume. I’m told that’s how it is every year, but it’s in the process of being constantly revised, so jokes that didn’t hit last night may not necessarily be in the final product. All I’m sure of is that you’ll definitely leave Roone Arledge with at least one of the revue’s infectious tunes power-drilled into your head.
The 120th Annual Varsity Show will have four performances on May 2, 3, and 4.
Correction: We initially posted that the Varsity Show's dates are May 3, 4, and 5. Sorry!