Few days ago I posted the following plea to The Corner: “It would be a
great relief if someone would please explain to me the point of the cartoon
on p. 68 of the current (Feb. 2) New Yorker. Or is this some new postmodern
style of cartooning, with no point at all?”
The most popular explanation of this mysterious cartoon is that the four
guys with flowers in their hats are mimes, being introduced into the
prisoner’s cell to torture him with their performances. I don’t feel sure
this is right. Do mimes have flowers in their hats? Why do we need four?
Wouldn’t one have made the point equally well? Etc., etc.
Be all that as it may, I am a bit fed up with all this snide stuff about
mimes. Listen: I LIKE MIMES. Like any other acquired skill, miming can be
done well or badly. When it’s done well, though, it is clever and funny.
Rosie and I went to Sea World in Orlando, Fla., round about 1987. There was
a show with some performing seals. Before the seals came on, a mime was
sent in to warm up the audience. I suppose it was just some amateur — a
vacationing student, perhaps — but his act was one of the best things I
have ever seen, and the whole audience were in stitches.
I realise I may be plowing a lonely furrow here, but is anyone else willing
to admit to enjoying mime?
Q–Who is this: “YEEEEAAAAGGGGHHHH!!!”
A–Marcel Marceau on his day off.