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Ali Wong had the audience in constant laughter on her Milk and Money tour, which stopped in Dallas this past weekend. The show, which sold out not once, but twice on two dates at the Winspear Opera House and prompted the addition of a third date at the Toyota Music Factory in Irving, delivered on her usual themes of relationship power and sexual humor. Without missing a beat following her introduction, Wong jumped right into talking about sex, wondering why women fans so easily fall for male stand-up comics while their female counterparts end up with uncomfortable messages from weird men.
This prompted Wong to lift her dress up past her belly button to reveal her underwear and roll her stomach like a belly dancer, mimicking the graphic direct messages she must receive from men and quickly establishing why the audience was required to put all phones in locked pouches before entering the venue. For anyone who has seen her two Netflix specials - Baby Cobra in and Hard Knock Wife last year - it came as no surprise to hear Wong make graphic sexual jokes with, well, uncomfortable imagery.
Though overall, this act somehow seemed less raunchy than her specials. But what the show lacked in descriptions of sex positions, it made up for in vivid details of colonscopies and body fluids. Her longest running bit was about her fantasy of cheating on her husband but realizing the logistical barriers that it would create - like a pricey divorce, convincing a lover to keep quiet, or not being able to connect with a young, single man anyway.
It tied into an overall theme of Wong questioning why society struggles with the idea of women who have money, power and respect. Her specials have never gotten political, and politics were mostly absent from this show as well. Though, in one bit, she joked about how, as a mom, she has no time for superfluous activities that single people enjoy, like watching the eclipse. And she reminded everyone how President Trump stared directly at the solar eclipse back in That particularly got a lot of laughs and claps.
The audience, in which Asians were noticeably represented, clearly came to laugh, and it made for a contagious environment. At times, the laughter was so loud that it was hard to make out the end of a joke. She is loud, sarcastic, sassy and minces no words. The way she walks across stage in small, rigid steps is so particular, and she talks from her gut, moving her whole body with hand gestures and leaning closer when emphasizing a point.