Review: 'Toast of London' is the impolite showbiz comedy for these impolite times
Longer ago, there was “The IT Crowd,” with Chris O’Dowd and Richard Ayoade; the ’80s horror pastiche “Garth Marenghi’s Darkplace” and a few episodes of “The Mighty Boosh,” all of which have managed airings this side of the Atlantic. And every year around this time, I post a link to “AD/BC,” a pitch-perfect pastiche 1970s-style rock opera written by Berry and Ayoade that tells the story of the Nativity from the point of view of the innkeeper.
Created by Berry and Arthur Mathews , “Toast of London” stars Berry as Steven Toast, a British actor who is not so much struggling — he works — as stuck. . The show debuted in the U.K. in 2013; the second and third seasons will come to IFC in 2020, and a fourth is possible when Berry — whose current U.K. series, a Victorian detective comedy called “Year of the Rabbit” that will also come to IFC next year — finds the time.
It is an impolite sort of show, profane, sexually farcical, mock-heroic, sometimes violent. There is a mildly serial element, but its arcs are mostly short, with Toast sent on different jobs and involved with different women in each episode. What remains constant is the horrible play in which he stars nightly — its title so obscene that it is masked with noise when anyone says it — and which opens him up to abuse when he is recognized from it in public.
Berry is a stocky, hirsute fellow, with a big, rich voice that immediately calls to mind the word “thespian” and gives everything he says a sheen of dramatic irony; it has the quality of being dubbed, even when you see the words come out of his mouth. His Toast is something of a loser, but also enough of a hero, relatively speaking, to keep us on his side. He is more self-approving than he has a right to be, which sometimes works for him and mostly does not.
In stateside terms, Berry’s character has something to do with the blustery bumblers Bob Hope used to play or that
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