Status: Divorced
City: Dublin
Country: IE
Signup Date: 7/18/2006
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Saturday, March 29, 2008
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The following article, written by Carla Power, was originally printed in Time magazine, April 7th, 2008.You can read the original, on the Time website, here.
Stand-up comics are the suicide bombers of the cultural world. They act alone, using stripped-down devices — a mike, and maybe a glass of water or a barstool. Their weapon, language, is decidedly low-tech, so they rely on the element of surprise to startle unsuspecting crowds. "If a joke is set up properly, and detonates properly," says Irish comedian Abie Philbin Bowman, the effect is revelatory: "If you and your audience see something in a new way, and the explosion is joy and laughter, that’s the most rewarding thing in the world, apart from sex."Bowman, 26, a rising star on the Irish stand-up scene, has been setting off comic explosions for 18 months now with Jesus: The Guantánamo Years. In the one-man routine, Bowman is Jesus, who, at the behest of his aging dad, returns to earth for a comeback tour. Since he’s a bearded Palestinian willing to die as a martyr, the messiah is stopped at U.S. Immigration and shipped off to Guantánamo Bay. He finds himself trapped on an island that’s become a maximum-security prison, designed by the people who brought the world Kentucky Fried Chicken: "Tiny battery-size cages, guarded by ignorant teenagers ... and characterized by a profound feeling of despair." The show is an unsettling weave of smart-ass wit and surreal situations from the age of terror. A joke involving communion and oral sex shares a platform with the calculation that al-Qaeda would have to blow up 580 planes a year to compete with the tobacco industry for casualties. This month, an audio version of the show, which has shocked Christian conservatives and delighted fans from Edinburgh to Lahore, was launched on iTunes. E-audiences might miss the comedian’s crown of thorns and Gitmo-orange jumpsuit, but that’s not dire, as the show, he says, is "all ideas." He also has a new show, Eco-Friendly Jihad, premiering this month in Galway, Ireland, about an environmentalist who becomes so frustrated with the West’s inability to cut carbon emissions that she joins al-Qaeda. Bowman, who is working on a graduate degree in peace studies by day, sees comedy as akin to a Gandhian exercise in passive resistance. It’s a kind of intellectual sit-in — "a nonviolent act that can cause a change in public awareness." An atheist whose skepticism of organized religion was honed growing up during Ireland’s Troubles, Bowman nonetheless claims his Guantánamo show is deeply Christian. It stands up "for American values, and for Christian values," he says. "Guantánamo Bay is profoundly un-Christian. I’m simply doing what Jesus did during his life: going around from place to place, and speaking up for what he believed in." Last November, Bowman played at a festival in Lahore during Pakistan’s six-week state of emergency. He knew better than to tackle either President Pervez Musharraf or the Prophet Muhammad onstage, but found his show resonated with an audience used to seeing their countrymen locked up under antiterror laws. Back in Ireland, he’s rankled a few Christian conservatives who have picketed his show, calling it blasphemous. One elected official of Northern Ireland’s loyalist Democratic Unionist Party, angered by the comparison between Jesus’ martyrdom and al-Qaeda suicide bombers, urged a boycott; and in a heated BBC radio debate, Bowman quipped how weird it was to have someone from the Orange Order — a Protestant fraternity — "criticizing [me] for dressing up in orange and talking about Jesus." But Bowman also has a big Christian fan base. He’s been invited to stage the show in various American churches; in Boston, seven Protestant ministers came backstage to congratulate him on its "profoundly Christian message." "A lot of Christians are so resentful that Bush is hijacking the language of Jesus to do these awful things," he says. "I’m fairly sure that telling jokes about God isn’t as blasphemous as torturing his children." For an age-of-terror comic like Bowman, the best jokes make for nervous laughter.
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Monday, February 18, 2008
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Current mood:  relieved
Category: Travel and Places
Playing 'Jesus' in Pakistan
The following article appeared in the February 2008 edition of The Dubliner magazine.
I think I can safely say that I'm the only Irish comedian stupid enough to perform a religious, political satire in a Muslim country under a state of emergency. And it all started at the Trinity Ball.
Eighteen months ago, I attended a performance-art piece in TCD by a visiting Pakistani academic, Fawzia Afzal-Khan. Perhaps not surprisingly, Bold and Beautiful: Speaking Out As a Muslim/Pakistani/American/Wo/Man Post 9/11 wasn't terribly well-attended. But it should have been. Fawzia came on stage in a burqa. As she started to dance, the folds opened to reveal that underneath she was wearing nothing but a bikini. It made quite an impression. Afterwards, a discussion ensued about the performance, politics and post-colonialism. At the time, I was studying the history of South Asia so I didn't sound like a complete idiot. Unbeknownst to Fawzia, she had arrived on the day of the Trinity Ball, and the college had thoughtfully given her a room beside one of the main performance tents. As sleep was out of the question, I agreed to be her guide through the morass of drunken students, liggers and upcoming rock bands who apparently comprise the biggest private party in Western Europe. During the evening, she told me about her theatre company. I said that I was working on a one-man show about Jesus Christ being detained at US immigration, because He's a bearded, Middle Eastern guy who wants to die as a martyr. She loved the idea, and offered to help me bring it to the US. We stayed in touch. Then, last summer, while touring in Boston, I got an email asking if I would be interested in bringing Jesus: The Guantanamo Years to Fawzia's native Lahore. It would mean representing Ireland at the World Performing Arts Festival in Pakistan with a show about a Palestinian Jew, imprisoned in Cuba, by Americans. How could I refuse? A month before I was due to travel, Benazir Bhutto returned from exile, and narrowly escaped death when her convoy was bombed. Two weeks later, President Musharraf declared a state of emergency. Citing the threat posed by Islamic terrorists, his government lost no time in arresting judges, lawyers and journalists. You may have seen the backlash on the evening news. There's something strangely compelling about a group of middle-aged lawyers, soberly dressed in suits and ties, throwing bricks at riot police. "It's probably no different to visiting Cork or Galway during the Troubles," I told my parents. "If you watch the international news, the whole thing looks like a war zone. But everyday life is probably carrying on as normal." I'm not sure who I was trying to reassure. As it turned out, travelling to Lahore was exactly like visiting Cork or Galway during the Troubles: poor infrastructure, economic stagnation, rumours of political corruption… and incredibly friendly, hospitable people. Perhaps most Irish of all, everybody I spoke to had their own personal analysis of how Pakistan should overcome the current crisis. The festival itself was held in an impressive redbrick amphitheatre, exotically illuminated, with a dozen large performance tents in the surrounding fields. The entrance was guarded by uniformed men with carbines and machine guns who made everyone walk through a metal detector. (This seemed odd, if alarming. I couldn't imagine that a performing-arts festival showcasing Pakistani singers and Czech puppeteers was a priority target for Al Qaeda.) The festival was organised by a nucleus of bright, resourceful young women who had no qualms about barking instructions at men twice their age. On arrival, I reported to the main office just as a minor staff dispute was heating up. The bulk of the exchanges were conducted in Urdu, but every time someone wanted to interrupt and assert their authority, they would speak in English. "Stop and listen to me. This is serious..." Then back into high-speed Urdu. I wondered if it was a legacy of colonialism, or perhaps something their teachers did at school. Either way, English was clearly the language of domination. Walking around as a white English-speaker in Pakistan is a slightly unreal experience. It's almost like being a minor celebrity. Strangers want to shake your hand, young women want to pose with you in photographs, everyone wants to be in your presence. At first you assume they want money, but it's deeper than that. Both purer and more convoluted. Given what interfering Westerners have done to the region over the past 250 years, the locals would be perfectly entitled to shout verbal abuse and spit at you in the street. But they don't. It's one of those paradoxes of human nature. Announce yourself as an American in France – a country which the USA helped to liberate twice in the past century – and you'll come in for a torrent of abuse. Turn up as a Brit in Pakistan – a territory your ancestors exploited for generations – and you're welcomed as an honoured guest. I told one of the organisers how welcoming I found the people. "No," she said, "we're just like that to white people." When we went into the performers' mess tent, I offered to get her a glass of water from a table in the corner. "No," she replied. "A servant will get it." I couldn't believe what she was saying. There was no one else in the tent, and the water bottles and glasses were no more than ten metres away. But she shouted for a servant, and one appeared to bring us water. I was caught in the politically-correct equivalent of the offside trap. On the one hand, I wanted to protest at the inequality of the situation. On the other, I didn't want to impose my Western values on the local culture. So I acquiesced. It struck me that the more stratified a society, the easier it is to impose a dictatorship: if everyone feels they have a status in society which has to be protected, they're less likely to upset the established order. It slowly dawned on me that all the bright young women running the festival were part of the same extended family. All of the older men they were shouting at had been born into humbler surroundings. So class, or perhaps clan, trumps gender – hardly surprising in a Muslim country which produced Benazir Bhutto. During the emergency, the media were censored. My paper of choice was The Dawn, which was started by Mohammed Ali Jinnah, the founder of Pakistan. Never having read a censored newspaper before, I didn't know what to expect. The first thing I noticed was the sheer number of acronyms – a crude barometer for the political sophistication of a paper's readership. (You don't see many tabloids with headlines like: 'EC removes restrictions on PIA operations,' 'Two ex-MPAs part ways with PML-Q, embrace PPP.') Virtually every second headline in The Dawn contained at least one acronym. I read articles challenging the international dominance of neo-liberal economics; analysing the importance of Pakistani civil society; and discussing the influence of Sufism on the works of William Shakespeare. One striking editorial declared that while the country's intelligentsia was preoccupied with the loss of civil liberties under the state of emergency, the real 'emergency' facing most Pakistanis was high inflation, exacerbating the rising cost of food. Another piece, by an opponent of the government, declared: "I was among the first to oppose this emergency and to demand 'give us back our country.' But what do we plan to do with it? There are the usual platitudes about improving education, helping the poor and stimulating the economy. But how do we actually plan to achieve that? This country faces serious difficulties – border disputes with Afghanistan and India, widespread corruption and an economy which cannot compete in the modern world. If we hope to take our country back, we need to have practical solutions to these problems." In a country of 160 million, The Dawn has 170,000 readers. The journalists I read – like the people I spoke to – were all, by virtue of the fact that they spoke English, members of the educated elite. Unless I learned Urdu within 24 hours, and translated my entire show, this same elite would make up the bulk of my audience. I was nervous about the show for three reasons. Firstly, in the Islamic tradition, Jesus is revered as a prophet. To depict him in a humorous context is technically blasphemous, and according to certain interpretations of Sharia Law, it's grounds for execution. My show was attacking Guantanamo, not Jesus. What could be less offensive to God than speaking up against torture? But all it takes is one fanatic. For the first time in my life, I didn't actively court publicity. As it turned out, Pakistan's journalists had slightly bigger stories to cover anyway. The second reason to be anxious was the tense political climate. The Pakistani government was arresting people, without charge, and justifying its actions by highlighting the threat from terrorism. You don't need a PhD in international relations to realise that there's a parallel between the government's actions and what the Americans are doing in Guantanamo Bay. I'd promised everyone back home that I wouldn't say anything which could get me into trouble. But the more I thought about it, the more ridiculous that seemed. The whole point of being a political comedian is to say things that could get you into trouble. What's the virtue of flying all the way to Pakistan, to complain about Guantanamo, if you don't take the opportunity to speak out about what's happening right in front of you? Notwithstanding, I didn't want to be pointlessly provocative. And, like the journalist whose honesty I had so admired, I didn't have any clear understanding of how Pakistan could solve its many problems. The third reason to be anxious was that the Pakistani audience might think I wasn't even remotely funny. Unlike puppetry, dance or instrumental music, comedy doesn't translate well. It's almost entirely linguistic – at least the way I do it. More than that, it relies on a network of cultural reference points, subtleties of inflection and linguistic gymnastics. The more I thought about the comedy gulf between Ireland and America (both predominantly white, Anglophone nations) the more I started to think it was insane to have come to Pakistan. American audiences had only just been able to deal with my high-speed delivery and exotic Irish accent – and that was in Boston. With rising trepidation, I begged the English and Canadian performers to come to my first night. If nobody laughed, the whole thing would be a disaster. To my immense relief, the Pakistani audience loved it. They hadn't seen much live comedy before, so the impact was all the greater. In all my fear about the blasphemy and political sensitivities, I had lost sight of the fact that the first 15 minutes of the show focuses on the misinterpretation of religion. 'Jesus' complains that his message of love and tolerance has been hijacked by joyless, judgemental fundamentalists. As the audience roared with laughter, I realised that everything I was saying about Christianity could be applied to Islam. Of course, as a Westerner, had I explicitly attacked Islam, or portrayed myself as 'Mohammed' instead of 'Jesus,' I might not have made it out alive. But satirising the flaws in Christianity allowed the Muslim audience to draw their own parallels. In deference to religious sensibilities, I did drop one joke. In the original script, I had a line about Jesus feeling isolated – it's not easy being the only Jewish guy in a camp full of Muslims. At this point, an invisible choir of angels appear (and the technician plays the first few bars of Paul Simon's 'Call me Al' over the PA system). Jesus realises it's one of his Dad's embarrassingly bad puns: 'Call me Allah.' It's a crap joke. The only reason it's still there is to break the monotony of listening to me talk for 75 minutes. And to set up a better joke later on. But in Lahore, I dropped that bit entirely. Pakistanis hate Paul Simon. On the second night, I decided to take the plunge and talk about the ongoing state of emergency. But I wanted to avoid sounding like a Californian tourist in 1970s Belfast, asking, "How come you guys can't all get along together?" So, towards the end of the show, I told the audience, "I know many of you are wondering whether there is a message here for Pakistan. I have to tell you, I've been reading the papers and studying the history of your country, and there is only one thing I know for sure. What Pakistan does not need is another white English-speaker from the West telling you how to run your country. "Some people think there's a parallel between what's happening in Pakistan right now and what happens in Guantanamo – where innocent people are imprisoned, without trial, under anti-terrorism laws. But there is another way of looking at this. The Americans have locked up 15-year-old children and poor people who can't speak English. At least in Pakistan, you have the decency to lock up judges and lawyers who know how to defend themselves." There was one line which I left out of the festival (but performed later at a private party). I didn't want to get my hosts in trouble. Their festival has been running for 15 years. It began as an international puppet festival, and has since expanded to include music, dance and theatre. Through all the difficulties Pakistan has faced in those 15 years, Musharraf has been one of the festival's most consistent supporters. Which isn't terribly surprising, given that he's an international puppet. No, I didn't say that in public. I'm not that stupid. An online audio version of Jesus: The Guantanamo Years is now available to download at www.MySpace.com/AbieLaughs Launches on iTunes March 17, 2008.
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Thursday, November 08, 2007
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Category: News and Politics
Noteworthy Europeans
Several times a day, you and I see two symbols that are supposed to represent our political and cultural destiny. The first is a window which is impossible to see through. The second is a bridge that goes from nowhere to nowhere. In a fit of monumental oversight these images were chosen by the European Union to adorn its most tangible icon: the Euro banknote. It gets worse. The bridges and windows are not only embarrassingly potent metaphors – they're hypothetical. We're not looking at windows which adorn the Sacre Coeur or St Peter's Basilica. We're not admiring bridges which span the Rhine or the Danube. That would have been too controversial, apparently. Five-hundred years after the Renaissance, the boldest emblem Europe can produce is generic, fictional architecture. And politicians wonder why we find Europe uninspiring. Imagine the six original members of the EU project as a European version of the Simpsons. France is the neurotic, highly-strung, controlling mother who wears the trousers, tells everyone what to do and drinks too much wine. She believes she's still young and irresistible, but in fact she's rather old and quite unattractive. Germany is the serious, hard-working, emotionally-absent father figure: reasonable, but prone to bouts of extreme violence. Then we have the three kids. Holland is the rebellious, bisexual, dope-smoking teenager. Belgium is the middle child: internally divided, outwardly dull, constantly trying to bring everyone together. Luxembourg is still too small for anyone to take much notice of. This leaves Italy as the swarthy, cool, irresponsible uncle who still rides a motorbike, smokes too much and has some pretty dodgy connections. In the bad old days, Mummy and Daddy used to fight all the time. Uncle would invariably take Daddy's side, but then switch allegiance when it became clear that Mummy was winning. As always happens, it was the kids who got caught in the middle. Eventually the family agreed to stop fighting and share more. This worked so well that they decided to invite other relatives into this arrangement. Now the whole thing's a bit crowded and nobody's sure who is in charge anymore. In all the confusion, we, the people of Europe have lost sight of the EU's most incredible achievement – and I'm not talking about Franco-German peace. As EU citizens, it is our BIRTHRIGHT to live and work in Tuscany, Paris, Sweden, Catalonia, Vienna, Crete, Milan, Provence, Athens, Scotland, Amsterdam, Cyprus, Rome, Barcelona, the Pyrenees or Prague. Remember that next time you're paying five euro to sip coffee in the rain, while listening to Liveline. Which brings us back to the banknotes. As our glorious leader might ask: what or who should de notes denote? Most citizens complain that the EU is too caught up in ideology, bureaucracy and identity crises to address the needs of real people. I say we get back to real people. Surely in our long, rich history there are certain individuals who command universal admiration. Who could object to a Euro banknote featuring Socrates, da Vinci, or Mozart? Of course there are many candidates who would be more divisive. It could be argued that Winston Churchill did more for modern Europe than anyone else in our history. But he would be a very problematic choice – both for his politics, and his many controversial military decisions. The trouble with politicians, sportsmen and military heroes is that they are invariably associated both with those whom they championed, and those they defeated. For all their talent, I doubt we'll ever see Euro notes featuring Otto von Bismarck, Eric Cantona or Julius Caesar. Instead, we should look to fields where human endeavour is of universal benefit: the arts, the sciences, technology and medicine. If choosing seven individuals proves too contentious, each note could instead feature several people from a chosen field. Thus we could have a composers' note, an inventors' note and a scientists' note. Ideally, prospective candidates should have connections with various parts of Europe. James Joyce – who travelled widely, incorporated many European languages in his works, and lived for a time in Dublin, Vienna, Trieste and Paris – would be perfect in this respect. But whether we favour individuals or groups, the biggest problem would be striking a balance. There are seven banknotes to serve twelve Eurozone countries – with the possibility of more nations joining in the coming years. If the notes featured more Italians than Germans, there would be great resentment. Then there's the question of religion – how would the tally of Catholics and Protestants add up? Would Jews or atheists get a look in? Arguably the most contentious question would be how many women should be featured. To date the EU has tried to avoid controversy and unpopularity by skirting these questions – plumping instead for generic architecture. That cowardice is a big part of the EU's problem. The European tradition – from Socrates to the Enlightenment to modern democracy – is founded on debate, discussion and dissent. The very act of arguing about which individuals best represent the European ideal would engage citizens across the Union in a common conversation. Not everyone will agree on the result. Plus ca change. But at the very least we will have exchanged ideas about our past culture, present identity and future aspirations. We could even go one further, and delve into the cesspit of popular culture. The BBC ran a series recently called 'Great Britons', in which ten historians/celebrities were selected as advocates for ten of British history's most influential figures. After they had all put their case, there was a public vote to select the Greatest Brit. Why not run a similar series across the Eurozone, concluding with a Eurovision style final in which the top twenty candidates are given a four-minute summary, followed by a public vote? It would be tacky. It would be vulgar. It would be democratically imperfect. But such an initiative would reach places that EU summits never reach, engaging Europeans from all walks of life in the political decision-making process. What is the EU afraid of? From an economic perspective, it doesn't matter who is on the Euro banknote. But at a cultural level, for the citizens of Europe to feel ownership of the selection process, and identification with the people featured, is more important than the result. If all this proves too much for Brussels, I say we force their hand. Using existing EU grants, we should build bridges and windows throughout the country, to the exact specifications of those featured in the current banknotes. Then we should start flogging coach trips to American and Japanese tourists, showing them 'the distinguished Irish architecture which inspired the Euro banknotes'. Let's see how Mummy and Daddy like that. This article originally appeared in The Dubliner magazine, Nov 2005.
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Friday, September 21, 2007
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Category: News and Politics
..>..>..>..>..>..>..>..> ..>
|  | THE BOSTON GLOBE - Interview
He's found his calling: comedy Playing Jesus, Philbin Bowman questions religion and politics By Louise Kennedy, Globe Staff | July 24, 2007
[check out the original at: http://www.boston.com/ae/theater_arts/articles/2007/07/25/hes_found_his_calling_comedy/ ]
CAMBRIDGE -- The title of Abie Philbin Bowman's act is brilliant in its simplicity: "Jesus: The Guantanamo Years." And the young Irish comedian is quick to acknowledge that the title probably had a lot to do with his unexpected success at last summer's Edinburgh Fringe Festival. "There are 1,800 shows there," he says. "If you can't sell your idea in 10 seconds, you might as well not go." But the title sold it, and his one-man show became a surprise hit in Edinburgh, then went on to sold-out success in London's West End. Now "Jesus: The Guantanamo Years" has arrived at Jimmy Tingle's Off Broadway Theater in Somerville. Through Aug. 12, Philbin Bowman spins his tale of the Son of God who returns to Earth as a stand-up comic and runs into a spot of trouble at US Immigration -- he's a bearded Palestinian, after all, who's willing to die as a religious martyr. Ironically enough, the show's original opening here had to be delayed by a week, when Philbin Bowman had a bit of immigration trouble himself. But he insists the truth is less dramatic than that sounds. "I would love to tell you that it was this huge conspiracy in the State Department, and Bush and Cheney got involved, and then the Supreme Court intervened and overruled them," Philbin Bowman says over lunch in Cambridge. "But no, it was just bureaucracy -- not ticking all the right boxes on all the right forms, and we didn't plan enough time to get it all done." In fact, he says, the officer he met at US Immigration was amused, not appalled, when he asked what the show was about and Philbin Bowman told him. "He said, 'He should have come to me -- he would've gone straight through!' " In the show, however, Jesus has a rougher time of it. After walking across the Atlantic to spread Dad's message that "humor is a gift from God," he ends up in Guantanamo, being interrogated as a suspected terrorist. And it's the prison, of course, that's the true subject of the show. "The real target is Guantanamo, something that is deeply un-Christian," Philbin Bowman says. Many Christians have seen the show, he says, and almost no one has objected to it as blasphemy. "I think telling jokes is not quite as blasphemous as torture, for example," he says. "If you really believe in Jesus, how can you live with this?" But he's eager to convey that message through laughter, not lectures. In a regular column for the Dubliner magazine, Philbin Bowman can argue seriously and passionately against US policies of interrogation at Guantanamo. But "in the show, I have tried very, very hard to make sure there's a joke every minute, at least," he says. "If it were didactic, nobody would come to see it. And anybody who did would probably agree. So what's the point?" Philbin Bowman says he's not religious himself, mainly because his first experience of religion was hearing that it made Irish Protestants and Catholics want to kill each other. But he says he's "become a lot more pro-Christian" from studying Jesus's teachings; he jokes about starting a group called Atheists for Jesus. And he's most interested, he says, in engaging American Christians in thinking about what he sees as the profound hypocrisy of fighting terrorism with torture. "So much of what Jesus says is applicable to this situation," Philbin Bowman says. " 'Turn the other cheek' -- it's not about being a wimp. . . . That to me is about understanding that if you fight back with violence, you just create a cycle of violence. Turn the other cheek -- moon someone! Mock them, humiliate them, make them look stupid." His belief in the power of ridicule, he says, comes in part from growing up in close proximity to the sectarian violence of Northern Ireland. "The IRA is mainly idjits," he declares, with the irresistibly blunt Irish pronunciation of that term. "You're not dealing with evil geniuses." By the same token, he says of Middle Eastern terrorists, "for the most part they're just dumb kids, angry young guys. And you should say, 'You're complete idiots.' "Look at Timothy McVeigh," he goes on. "They treated him like a criminal, gave him a fair trial, and convicted him, and nobody thinks of him as a martyr. If instead they'd arrested all his schoolmates and interrogated them, it would have made the people of Oklahoma rise up in protest. And that's their own government -- now imagine a foreign power doing the same thing." Philbin Bowman, who turns 26 Saturday, says he owes much of his interest in politics and comedy to his father, who's well known in Ireland as a political journalist, and to his late brother, who hooked him on Monty Python and on "Spitting Image," a British show that used latex puppets to satirize political figures. "I think I got into politics because I wanted to get the jokes on 'Spitting Image,' " he says. "So I'm really delighted I've got something that can straddle both worlds, politics and comedy." Eventually he plans to return to Dublin's Trinity University, where he'll pursue a master's degree in international relations, focusing on conflict resolution. But who knows? The master's degree may have to wait, if US audiences take to "Jesus: The Guantanamo Years" as eagerly as those in the UK. Philbin Bowman would like nothing better than to take it on tour -- in Texas, say. And after that? Well, he says with a wink, he does have another idea for a show, one that draws on his previous study of Irish and Indian nationalists and their struggles against the British Empire. "It's called 'Dancing at the Crossroads,' " he says, "and it's a Bollywood-style musical biopic of Eamon de Valera." Ridiculous? Sure. But so is Jesus in an orange jumpsuit.
The Patriot Ledger - THEATER REVIEW
Provocative 'Jesus' an inspired performance By JULES BECKER [check out the original at: http://www.patriotledger.com/articles/2007/08/06/life/life02.txt ] Picture a single male Palestinian Jew labeled as a troublemaker and accused of lying about the identity of his father. Imagine the same man describing his previous line of work as being on a mission from God and being prepared to die as a martyr. Now visualize American immigration officials arresting him for purportedly violating the Patriot Act, handcuffing him and dressing him in an orange prison jump suit. If you think you recognize the scenario, you may want to think again. What could be an item straight from today's headlines is actually the amusingly clever premise for Irish comedian Abie Philbin Bowman's inspired one-man performance piece ''Jesus: The Guantanamo Years,'' now in its local premiere at Jimmy Tingle's Off Broadway Theater. As conceived and played in this brief (less than 90 minutes) and inventively provocative show, Jesus is a stand-up comedian speaking into a mike and making ''what is essentially my comeback tour.'' Consistent with Bowman's ostensibly irreverent but ultimately quite faithful approach, the title messiah is quick to remind God, here his aging and sometimes forgetful dad, that they are both, after all, Jewish, and that all people should love and respect each other. Boldly, his satiric text suggests that Jesus needs to remind his ''technophobic'' father from time to time that the Romans, not the Jews, killed Jesus and that scientific evidence of the existence of dinosaurs does not conflict with the description of the creation of the universe in the book of Genesis. By now, the saying ''Laughter is the best medicine'' has become highly overused, but Bowman's rollicking wide-ranging reflections vividly support his Jesus' position that ''Life and religion are far too important to take seriously'' and that religions ought to employ comedy and humor to make the burdens of life easier to bear. Monty Python fans will especially enjoy complaints questioning the originality of the hit lampoon ''The Life of Brian.'' Bowman brings rich gusto to stand-up Jesus' condemnation of the film as ''a disgrace'' that ''ripped off so many of my jokes'' and his determination to pursue a legal battle against its talented writer-performers. With proper understatement and crack timing, he also scores with supposed ''gossip'' from Heaven that Mother Teresa and Pope John Paul II ''finally got together'' and that she moved on to Gandhi later. Theatergoers from all religions and denominations should find comic food for thought in a portrait of Guantanamo as a kind of maximum security prison run by KFC and a quick but telling putdown of ''The Da Vinci Code.'' The same goes for a stretch in which Jesus admits to being the only inmate not on a hunger strike during the Muslim holy month of Ramadan and not looking forward to spending Yom Kippur in detention. Make no mistake, though. ''Jesus: The Guantanamo Years'' is not merely a light-hearted blend of comic routines, one-liners and send-ups. Without turning the show's always timely message about love, respect and tolerance into a latter day Sermon on the Mount, Bowman - who admits to being an atheist - does give proper space to darker material. His Jesus thoughtfully recalls that some Auschwitz concentration camp inmates did call for trying God for not stopping the Nazis from annihilating millions of Jews during the Holocaust. Not surprisingly, there are sharp observations about Colin Powell's call for fair trials at Guantanamo and the ethical objections of even the Pentagon's own lawyers to the lack of due process there. Audience members are also likely to give serious consideration to Bowman's purposeful allusions to Israel, Kashmir and Northern Ireland in his Jesus' admonition against fighting violence with violence. If anything requires refining here, the adjustments should be made in the talented performer's delivery. There are stretches that need a slower tempo and louder projection. Perceptive Bowman is likely to make such improvements quickly. Still, ''Jesus: The Guantanamo Years'' sharply combines laughter, spirit and ideas in an offering everyone should celebrate.
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Friday, August 24, 2007
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Category: News and Politics
Following a Summer of performances in London's West End, Jimmy Tingle's Off Broadway in Boston, and the Edinburgh Fringe Festival, I'm taking 'Jesus: The Guantanamo Years' on an Autumn tour of Ireland.
To book tickets, contact the relevant venue (box office phone numbers and websites listed below).
Tickets are priced €13 (€10) in all venues (except Belfast, where they are priced £6).
Sept 6-7.........Blackbox Theatre, Belfast 028 9024 4400....www.BlackBoxBelfast.com
Sept 8...........Moat Theatre, Naas, Kildare 045 883 03.......www.MoatTheatre.com
Sept 12-13......Axis Centre, Ballymun (D9) 01 883 2100.....www.Axis-Ballymun.ie
Sept 14-15......Birr Theatre & Arts Centre, Offaly 057 912 2911....www.BirrTheatre.com
Sept 21-22......Watergate Theatre, Kilkenny 056 776 1674....www.WatergateKilkenny.com
Sept 27-29......Granary Theatre, Cork 021 490 4275....www.Granary.ie
Oct 3-4.........Mill Theatre, Dundrum (D14) 01 296 9340.....www.MillTheatre.com
Oct 6...........Simon Ryan Theatre, Tipperary 062 805 20......www.Tipperary-Excel.com
Oct 11..........Draiocht, Blanchardstown (D15) 01 885 2622.....www.Draiocht.ie
Oct 25-27.......Civic Theatre, Tallaght (D24) 01 4627477......www.CivicTheatre.ie
Enjoy the show, and please spread the word.
Yours in Christ,
Abie
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Wednesday, August 15, 2007
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591 637 842284 195 367376 428 195 469 213 758815 976 423732 584 619 647 852 931923 741 586158 369 274
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Tuesday, May 22, 2007
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Category: Religion and Philosophy
(WARNING: this is an entirely serious article -- if you want jokes, you'll have to come to one of my comedy shows). Jesus Christ is often associated with a naive brand of pacifism, which apparently "just doesn't work in the real world". Perhaps in a 'conventional' war -- such as the fight against Hitler -- Christ's teachings are impractical. However, they are ideally suited to undermining terrorism. Christ's philosophy of "turning the other cheek" is not about being too weak, too spineless or too afraid to fight back. It is about understanding that if you retaliate violently, you will almost definitely cause further suffering and injustice. This will feed directly into a cycle of violence and retribution. Such cycles of violence are a familiar feature in many terrorist conflicts, perhaps most famously those of Northern Ireland and Israel/Palestine. The terrorist attacks on 9/11 were completely unjustifiable, and America deserved the sympathy of the world in their aftermath. But the response of the Bush administration, in Afghanistan, Guantanamo and Iraq, has done nothing to help the victims of 9/11, and has instead created even more victims, adding fuel to the fire of international terrorism. Trying to fight terrorism with a war is idiotic. If there's one thing terrorists thrive on, it's violent conflict. The first step towards defeating terrorism is understanding what causes it, how it works and what will best undermine it. To borrow a line from Chinese philosophy: "know thy enemy, and know thyself, and a thousand victories shall be yours." Most terrorists would like to be popular revolutionaries. But they have a problem: they are chronically unpopular. Blowing up innocent civilians doesn't typically win over public opinion. In fact, the only circumstance in which ordinary people will support extreme violence is when they believe that it is undermining an even greater evil. Hence, for example, the widespread American support for bombing Hiroshima and Nagasaki. The American public in 1945 were not callous and bloodthirsty. They supported dropping the atom bombs only because it was the quickest way to end a terrible war. So terrorists only hope of popularity is to portray themselves as opponents of an even greater evil, and to attach themselves to legitimate causes. The IRA claimed to be bombing for Catholic civil rights. The London suicide-bombers expressed anger at the suffering of ordinary Palestinians and Iraqis. In themselves, these are perfectly just grievances. But it takes a particularly demented brand of lunatic to conclude that the best way to alleviate suffering in Belfast or Gaza is to bomb a commuter train in London. That's on a par with finding ants in your kitchen, and trying to get rid of them by flying to Botswana and shooting a giraffe. What cause did the 9/11 hijackers claim as justification? Primarily, it was the on-going American support for the corrupt Saudi Royal Family. Fifteen of the nineteen hijackers were Saudi nationals – as is Osama bin Laden. All of the hijackers died on September the 11th, 2001. But the response of the Bush administration has enabled those nineteen murderers to hijack America's foreign policy ever since. The fresh injustices perpetrated in Afghanistan, Guantánamo and Iraq have inspired a whole new generation of terrorists. And so the cycle continues. For many years, a similar cycle took place -- admittedly on a much smaller scale -- in Northern Ireland. The peace process there illustrates that when the underlying injustice is addressed fairly, support for violence evaporates. Catholic civil rights and equality have been more or less achieved, peace has been brokered by both sides and there is now no-one who wants to return to violence. By contrast, Israel has been fighting a "war on terror" for 60 years. At every stage in that conflict, the number of Palestinian dead has been three, four or five times the number of Israeli casualties. Militarily, Israel has divided, outgunned and outmanoeuvered its opponents at almost every step. Yet despite this overwhelming military superiority there is no prospect of peace, because Israel has not addressed the underlying injustice – the suffering of ordinary Palestinians. Some readers will think that I am advocating conceding to terrorist demands. I am not. That would be dangerous, stupid and immoral. I am arguing that the USA should try to end genuine injustices. I am suggesting that Catholics deserve civil rights, regardless of whether some idiot in a balaclava sets off a bomb in a pub. I am suggesting that the people of Saudi Arabia deserve a democratically elected government which does not squander the country's oil wealth on bribery and corruption. Fundamentally, I am arguing that if America embraces the best elements of its strong Christian tradition, and it's passion for justice and liberty, it would do a great deal of good in the world, and cripple global terrorism into the bargain. Who's going to support blowing up a government which has just built you a brand new university hospital? If that sounds naive, take a look at global events since 2001. America has deployed unprecedented military resources in an attempt to destroy terrorism by force. The result? Terrorism is stronger than ever. More Americans have died in Bush's wars than were killed in the twin towers. If anyone is guilty of naivete, it is the architects of George Bush's foreign policy. Millions of Americans are disillusioned with their own government, angry that they were misled into war, and increasingly afraid that the rest of the world hates them. Those people need to agitate for change. As for those of us outside America, particularly those -- like myself -- who live in privileged parts of Europe, there are a couple of things we should bear in mind. There is serious problem of anti-American bigotry in Europe, and elsewhere. Bigotry is a bit like alcoholism. If you stopped 1,000 people on the street, and asked them whether alcoholism is good or bad, they would all tell you that it's bad. Just as they would tell you that bigotry is bad. But unfortunately, some of them would still be alcoholics. And some would be bigots. And, like alcoholism, the first step to treating bigotry is admitting that you have a problem. So here goes. I used to be an anti-American bigot. I made the mistake of blaming ordinary American citizens for the misdeeds, stupidity and arrogance of their government. It was lazy and irrational of me. Many non-Americans, particularly Europeans, enjoy complaining about America. We blame the USA for everything: we complain about its dumbed-down culture of movies and fast food; we complain about its appalling democratic deficit; and its self-interested foreign policy of stockpiling oil and selling arms to dictators. All of which is a fair assessment... of the European Union. We are masters at projecting the things we don't like about ourselves onto America. In the interests of retaining perspective, let's ask ourselves: do any of us want to live in a world dominated by China? Or Russia? Or Iran? Personally, I'd like the planet to be run by a coalition of Sweden, Holland and New Zealand -- but I'm not exactly holding my breath. If America is our preferred dominant world power, then that is all the more reason to criticise it astutely. But the purpose of that criticism should always be to inform and improve, never to make ourselves feel morally superior. I'd like to conclude where I began, with a brief quote from Jesus. It applies equally to the struggle against terrorism, and the challenges of everyday life: "Be not afraid". Abie Dublin, May 2007
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Tuesday, September 26, 2006
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Jesus Christ (Son of God and father of modern stand-up) returns to earth for His long-awaited comeback tour. He doesn't get past U.S. immigration: He's a bearded, Middle-Eastern guy, fully prepared to die as a religious martyr. He's immediately detained under the Patriot Act.
In His first one-man show for almost two millennia, Jesus talks candidly about His time in Guantanamo, His controversial relationship with His Father, and His on-going legal battle with 'The Life of Brian'.
WINNER - Best Character Comedy at Edinburgh Fringe 2006 (based on audience votes at late-night showcase 'Spank')
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Tuesday, September 26, 2006
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The Stage
Abie Bowman deserves a comic sainthood simply for the idea of Jesus Christ as a Middle East terrorist suspect incarcerated in Guantanamo's Camp X-Ray.
In fact, Our Saviour has just escaped and hotfooted it across the water to Edinburgh to continue the greatest stand-up story ever told.
He's back on the road, recapturing the success of his first tour 2,000 years ago when he wowed the crowds with the loaves and fishes trick, among others. He admits that attitudes have changed. He's still trying to claim royalties on the Bible and moans about the use of his copyrighted material in Monty Python's Life of Brian, threatening to tell John Cleese jokes in revenge.
Health and safety considerations mean that his stigmata have had to go while he acknowledges that in pre-Aids days the idea of a billion Catholics drinking his blood every week wouldn't have been considered a problem. He has also discovered that the modern world is not quite geared up towards anyone with a beard presenting themselves at a US airport without proper ID after emerging from a cave in Palestine. You can see the problem - as did the American authorities who promptly packed him off him to Guantanamo where the Americans panic after thinking all the Muslim detainees are on hunger strike only to be told it's Ramadan.
Like all good stand-ups, Jesus' own personal life comes up for scrutiny - his aged father, for example, gives him grief by refusing to retire - while politics also suffuses the laid-back observations. In the fight against terror, he idly calculates the amount of airplanes Al-Qaeda needs to blow up to match the mind-numbing statistics of deaths caused by medical malpractice in the USA each year.
Bowman's kosher beard, deadpan Irish tones and gently barbed delivery ensure that the irony never gets in the way of the laughs. Funny, thoughtful, impassioned and one white-knuckle joke make this a classic encounter that should be made required viewing for all.
Three Weeks
Introducing yourself as Jesus Christ is always going to be controversial, but Abie Philbin Bowman seems such a nice man that I can't imagine God minding too much. The Irish comedian/singer/songwriter has put together a wonderful show, based around the premise that Jesus – a stand-up staging a comeback tour – is inadvertently detained in Guantanamo Bay, a facility he describes as being "like a maximum-security prison designed and run by KFC." This intelligent and engaging comedy hour pokes fun at difficult subjects, but is never offensive. Though Jesus (a.k.a Abie) has a tendency sometimes to speak a little too quickly to be understood, the jokes are well set-up and usually met with applause. Sure to be one of the most talked about shows in this year's Fringe.
Three Weeks rating: 4/5
The National Student
Top Picks: 5/5
Having begun his career in magic; quickly progressed to stand-up and taken an unusually long recess from the stage (due to a contractual and notoriously painful execution), the oldest stalwart of the comedy sermon circuit finally returns in a great shower of publicity.
Jesus is back and he's not too impressed at having his best gags nicked by Monty Python. Coupled with his frustration at suffering the resurrection based ignorance of copyright laws, his fan-base has become ever more erratic and self indulgent. Basically our saviour is having a tough time of it lately, but he's taking it very well, and with great humour. For a deity he displays superb humanity.
With the statutory hair for the part, this fast talking Jesus (who's adopted a Dublin accent of late) exudes such a kind and appealing nature that you'll instantly hang on his every word. As legend has it, you wouldn't be the first.
Passing through a broad range of biblical and political references Jesus spills his mind beans and shares the occasional family anecdote. True to tradition, his greatest supporters don't treat him kindly, these days it's the yanks providing the persecution and after a tricky immigration encounter he swiftly lands in Camp X-Ray.
Brimming with topicality and blessed with a headline that could sell tickets by itself, this is destined to be a Fringe favourite, and you won't be disappointed. Miraculous.
by Ian Phillips
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Thursday, September 21, 2006
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"Inspired" - The Sunday Times.
"Irreverent" - The Irish Independent.
"Incendiary" - Newstalk 106.
"Intriguing" - Hot Press.
"Controversial" - News of the World
"Witty" - The Irish Times.
"Energetic and intense" - Metro
"Outrageously blasphemous... topical political comedy that is actually funny" - RTE.
"Ideas, anecdotes, ad-libbed jokes and asides fizz out of him" - The Sunday Independent.
"the face of this year's Fringe... Well-thought-out and cleverly written... a truly fresh take on the US, Guantanamo Bay and the war on terror." - The Scotsman.
"Deserves a comic sainthood… the greatest stand-up story ever told… Funny, thoughtful, impassioned… a classic encounter that should be made required viewing for all." - The Stage.
"a wonderful show... intelligent and engaging comedy... Sure to be one of the most talked about shows in this year's Fringe. ****" - Three Weeks.
"Displays superb humanity... destined to be a Fringe favourite... Miraculous. *****" - The National Student.
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