After a seven-year absence from the stage, comedian Popeck proves he hasn't yet "given his all." With his black derby and bow tie, long-coated tux, white gloves and spats, he pulls out of his valise strings of jokes and skits in which he mimes other characters.
Known for his French-Jewish humor, Popeck relies less heavily on ethnic references than on the character (Chaplinesque, but more linguistic than gymnastic). In one skit, he bargains with God, bemoaning his minority status. God agrees if he's a buffoon, he can show the miseries and contradictions of life while joking about everyone. And so he does, especially the French, English, and Americans.
Among his skits are an imitation of Bernard Pivot, an imagining of the Sun King going to see Moliere's L'Avare at the Comedie Francaise, a re-creation of a very British golf instructor, and a memory of his father waxing nostalgic about Russia with sound effects. When Popeck uses a guitar, it's obvious he's doing material the audience knows and loves. They sing with or for him. His skit about Chez Maxim's, where he dines solo on Duck a l'American, is another favorite. In sum, he's a legend still growing.
