About 40 and Leroy
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In the tradition of the great New York City comedic movie duos from Abbott and Costello to Seinfeld and Costanza or Comedy Central, comes the contemporary slapstick team of 40 and Leroy. A web series that follows cousins 40oz and Leroy and a host of diverse characters as they explore what is the highs and lows of the life of everyday urban youth living in the city.
Very few character names have been used as often as the name Leroy in comedy. But what few people know, or have observed, or even paid attention to, is that there is an expansive story behind the illustrious name of Leroy as it relates to comedy. Read More
Since the moment director Reed McCants put his award winning film "Cuttin' Da Mustard" on the shelf, he's been near obsessed not so much with the obvious spin-off 40 and Leroy but with fulfilling a directorial fantasy to work with a comedy team. Growing up in New York exposes a young person to many aspects of entertainment more precisely, 'show business', and Reed, if anything is an exception to that rule. But we must change our definition of exception to 'exceptional', for Reed has certainly done this by his exceptional work directing, writing and producing 40 and Leroy. 
Growing up in New York in the '60's and '70's one was exposed to a lot of comedy. The Three Stooges, The Little Rascals, and East Side Comedy was served up regularly on television influencing young men like Reed. Other influences were the obvious Redd Foxx albums featuring comedians Don Begley and Nipsey Russell. Of course the classic Richard Prior albums were played many hundreds of times by the young. Reed describes the moment of revelation about 40 and Leroy as similar to directing his first film or getting his first professional paying acting job. 'Like slipping on a comfortable pair of jeans' says Reed. 'It just felt right'.
Of course, as with all productions there are many false starts and obstacles. Budgets, lack of budget, scheduling and a host of issues stand to confound the creative process. Above all else one thing stood out to Reed and that was how to comtemporize a process that started with the traveling minstrel shows of the 19th century and reached its pinnacle with the modern Hollywood 'buddy movie'. Which raises the question, 40 and Leroy - Starting a trend or bucking the trend? Or perhaps is there a middle ground where a post-modern producer and comedy team may tread? Reed realized almost immediately that he and 40 and Leroy must do the veritable tightrope walk and do both - but do both well if any chance of success is to be realized. T
he two not-so-obvious elements in Reeds mind were absolute control over the p
roduction and to take advantage of the new mediums and platforms that would allow an artist free reign over his art without busy body Hollywood know-it-alls trying to put in their two cents. "If you're black, the first thing they want you to do is put on a dress", says McCants. "No way I'm goin' out like that" says Horace Glasper (Leroy). Needless to say the 40 and Leroy production unit walk a fine line between modern aesthetics and traditional 'vaudevillian' slapstick comedy. In the view of Lorenzo Eduardo (40 oz.) they are bucking the trend by appealing to their fans directly instead of waiting for a Hollywood handout, and starting a trend by going back to the roots of comedy. "We've only got a little bit of a head start. The copycats will follow soon enough" says producer AG McCants. "Then it'll be up to them to buck the trend", says Reed.
If you’re an urban dweller, a sub-urbanite or a plugged-in rural person between the ages of sixteen and sixty, the word ‘40’ could, in most cases, conjure up an image of a 40 ounce bottle of Miller Highlife, perhaps Colt 45 malt liquor. More
