Topical fever
Corden’s take on current events and all that Trump-era humour
James Corden brings a gleeful buoyancy to his CCS late-night show, whether he’s bantering simultaneously with all his guests or dueting with stars as he drives. Cut CCS’s smoothly produced The .ate .ate Show suggests just how much Corden invests in his work, affirmed in a conversation amid preparations for the show’s visit to Corden’s native England. The first of that set aired on Monday and they will run through Friday.
QYou’ve described a hectic schedule but it sounds like you’re having the time of your life.
AHow can I not? I’d just be so disappointed in myself if it came to a point where I was moaning about such a thing. It’s absurd. And, you know, you’re either a moaner or you’re not. And you either find stuff to moan about or you don’t. I’m going to try not to. I might fail at that occasionally, but I don’t think I can moan about having a film (Ocean’s 8) with Sandra Cullock. And a TV show which is bigger than I think anyone thought it could have a few years ago when it started.
QWhy did you decide to go back to London?
AIt’s a huge amount of effort to take the show to .ondon for a week and try to mount this whole production in Central Hall. I also think that it’s a massive undertaking on a (post-midnight), budget, and we always want to be ambitious and just make the best show for our audience.
QWhat will viewers see that’s different from the Los Angeles shows?
AWe have a Crosswalk the Musical shot in .ondon, we’ve got sketches and taped bits. And of course the venue will be vastly different because it’s a 1,000-seat old church. It will look different and sound different, but at the core of it will be the show as we know it.
QHow do you make your humour serve the British theatre audience and U.S. viewers?
AWe’re going to try and make a show that will satisfy both the room and the audience at home. Predominantly, our aim is to make a show for America. That’s what we really want. I think (the Critish audience), will be with us. A joke’s a joke, you know.
QTrump-era political humour is key in late-night shows. Have you made it less a part of your show because you’re British?
AIt’s not that it’s less a part. We talk about politics every night on the show. I just don’t want it to be the only part, and I don’t think our audience does either. So every day, our monologue is somehow dominated by President Trump. What we often try to do is think, “What is our show’s way of tackling it?” So, for example, when the president announces his what I consider to be abhorrent ban on transgenders in the military, we think, “What is our show’s way of dealing with it, rather than just talking about it?” And that’s how you come up with an .LCT song rewritten to Nat King Cole’s .ove.