The Doo Wops / Get Some Theatre Centre, Toronto ON, March 4

The Doo Wops / Get Some Theatre Centre, Toronto ON, March 4
The Doo Wops got rousing rounds of laughter and applause, while Get Some's fledgling new material wasn't practiced enough to pack large punches. Together, they created an ordinary show.
Get Some are usually one of the most hilarious sketch comedy groups in the city, but the only major strength of their set was that all of their material was brand new. The local phenoms started the show with a sex-themed sketch that was amusing, but was principally memorable because one of the members of their collective gutsily appeared on stage completely naked. Following that, the large troupe traipsed through a half-baked sketch about copious product placement that only barely worked because they gave their characters over-the-top Californian accents. Similarly, they did an averagely written sketch involving the musician Pitbull, which mainly worked simply because Pitbull is such a ridiculous character to portray.
In addition, Get Some performed a bit in which a man who found 14 million dollars in a boat created a financial service that instructed people on how to make their fortune like he did, as well as a scene in which a man invented a time machine that can only go 30 seconds back in time. Both were distinctive and had considerable potential, but they still fell flat because they hadn't been fine-tuned yet.
The Doo Wops' headlining performance was definitely musical comedy as opposed to sketch comedy, but their set received such an uproarious response that it was understandable why the Toronto Sketch Comedy Fest bent their genre restrictions to allow them to participate. Though they often relied on dance moves and peppy chord progressions to bolster their generic material, they were so sharp in their musicality and timing that it was easy to ignore the fact that several of their premises were a bit hacky.
A good portion of the Doo Wops' set was devoted to sexual comedy. They played an upbeat song about wanting girls to wake them up with blowjobs, as well as a catchy ditty about enjoying when women have "crazy bush." Both were funny and catchy, but not particularly original. In the same vein of material, the Doo Wops also sang a tribute to whores that was more unique than their other sex-based songs, but still very broad in its humour.
The other major theme of the Doo Wops' performance was being Italian. Their amusing song about  "mangiacakes," which are WASP girlfriends of Italians, was impressively relatable considering the obscurity of the topic. Comparatively, their skewering of "ginos" to the melody of "No Woman No Cry" was bland: the bit was little more than simple lyrics that were paired with a popular song for no reason other than to benefit from the tune's familiarity.