In his new show, Reginald D Hunter carves a far more introspective figure than the jovial presence we are accustomed to seeing on TV. His burgeoning success over recent years has been slightly tempered by a number of controversies surrounding his comedy, in particular his use of the N-word, which intriguingly does not make an appearance in the title this year. In The Midst of Crackers is in part Hunter’s response to these accusations and an impassioned plea for society to stop hiding behind euphemisms and start speaking with clarity about contentious issues.
After an initial riff on the comedy industry, Hunter began in earnest by addressing the controversy over his set at the PFA awards dinner. Surprisingly, he admits that it was arrogant to assume he could just perform the same material as he would at his own shows, before rightly and ruthlessly exposing the hypocrisy of the Kick It Out campaign.
Such experiences have certainly not dissuaded Hunter from broaching controversial issues. Instead they have reminded him of the importance of doing so. He makes a number of intelligent points about the continuing need to keep ‘going on about race’, connecting them well with the Trayvon Martin case and his stunned rage at George Zimmerman’s acquittal is palpable as he points out the absurd inequalities of the American judicial system with regards to black citizens. Hunter also adeptly plays off the largely white audience throughout, eschewing the taboo about saying if you have black friends whilst also reminding us not to start feeling that we’re somehow above talking about race.
He is less successful when drawing a parallel with the issue of domestic violence towards women by discussing Oscar Pistorius, which started promisingly but seemed to end up as an excuse for some rather worn-out jokes about the athlete’s lack of legs. This section was also emblematic of Hunter’s technique of discussing a serious topic at length, before undercutting the atmosphere with a crude twist. This device achieved varying results - brilliantly used in a bit about his aged father but coming across as just a guarantee of cheap laughs at other times.
The overall tone of the show was remarkably confessional, with Hunter ruminating on a number of personal issues, whilst also not afraid to sometimes paint himself as the bad guy in these situations. At it’s best this is an intelligent show which raises important issues that deserve our consideration, presented with great wit and timing. Unfortunately it’s hampered by being a bit disjointed and, as Hunter himself acknowledged at the end, still lacking the clarity he is trying to invoke in others. Hopefully this will improve as his run continues as if he can bring all these elements together, Hunter may well achieve his laudable aims.
