Comedy

Joanne Ryan: Eggsistentialism

07/08/17

Summerhall, Edinburgh

Eggsistentialism is an absolute gem of a show. Written and performed by Irish actor Joanne Ryan, it tells the very private story of a woman trying to decide whether or not she’d like to have a child. But it’s a lot more than that: it’s also a history of Ireland and its social, sexual history. Deftly constructed, so that it feels light and palatable even when it’s punching hard, this is a clever piece of work, which made me laugh out loud, but also brought me to tears.

Ryan is an extremely engaging performer, with wit and warmth enough to envelop her audience. There are animations too: this is a multi-media piece. But it never feels heavy-handed, or techy-for-the-sake-of-it, like such things sometimes do. The animations here are charming and quirky, and used to excellent effect, contextualising Ryan’s modern-day dilemma and adding layers of meaning to the fears she faces. Veronica Coburn’s direction is lovely too: there’s an ease and subtlety to the whole production, which makes it most enjoyable to watch.

This is a must-see: a deeply personal play with universal appeal. Don’t miss it.

5 stars

Susan Singfield

 

Abigoliah Schamaun: Namaste, Bitches

06/08/17

Underbelly Cowgate, Edinburgh

Abigoliah Schamaun is as bold and unusual as her name. In fact, her moniker is one of the reasons we’re here (it’s memorable; we saw it on posters last year but didn’t have time to see her show); the other reason is Global Pillage, the remarkable Deborah Frances-White’s “diversity-based panel show.” The episode featuring Ms Schamaun was a stand-out, and made me want to see more of her output.

Namaste, Bitches reveals Abigoliah to be a hot mess of contradictions: she’s a fitness freak who drinks and smokes; a tattooed shave-head who loves Hello Dolly. And she’s unexpectedly sweet and appealing too. It’s a genuinely quirky, unpredictable hour, with delightfully warm and natural audience interaction. Philip and I are even called upon to learn some Bikram yoga, which definitely makes us look silly, but we’re not the butt of the joke; it’s a friendly kind of show. We laugh throughout, and leave with big smiles on our faces, feeling good about ourselves and the evening we have had.

She might be losing her voice, but Abigoliah has a lot to say – and it’s definitely worth listening to.

4.2 stars

Susan Singfield

Sarah Kendall – One Seventeen

05/08/17

Assembly George Square, Edinburgh

Reviewing at the Fringe, as we do every year, we make a point of trying to see as many new acts as possible – but there are some we just cannot allow ourselves to miss and Sarah Kendall definitely belongs in that category. This skilled storyteller from Newcastle Australia really is a spellbinding performer, who never fails to create a fascinating and highly original show. One Seventeen is no exception, even if I’m left a little confused by the relevance of the title.

She wanders out onto the stage and launches straight into a seemingly unconnected series of events, with recollections from her childhood cleverly intercut with more recent observations of her life in London. The subject matter is so disparate – from an attempt to see Halley’s Comet to a friend’s cancer diagnosis – that, at first, you really can’t see how she’s going to tie it all together. But then she does – effortlessly, satisfyingly – utilising incredible skill and just the right amount of pathos, holding the audience in the palm of her hand all the way through.

Kendall isn’t exactly a comedian, though you will laugh out loud at much of what she says. She’s a talented writer who crafts her material with incredible precision. Little wonder she gets nominated for so many awards.

If you’re at the festival this year, don’t miss her. She’s really rather wonderful.

5 stars

Philip Caveney

 

Francesco de Carlo: Comfort Zone

05/08/17

Underbelly, George Square

Francesco de Carlo is Italian. Of course, his name on the poster means this doesn’t exactly come as a surprise, but – in case you were in any doubt – his accent confirms it. ‘This isn’t a character,’ he tells us. ‘This is my real voice.’ And that’s pretty much what this show is about: being a visible immigrant in Brexit-era Britain (although he’s at pains to point out that he’s not suffering, that he’s not comparing himself to a refugee).

De Carlo came to the UK just as we decided to leave the EU. He’s sad about the decision. His viewpoint is interesting: the show positions him as an outsider, but he has an insider’s knowledge of the European Parliament because he used to work in its press office.His opinions are interesting and informed. He praises Britain too: reminds us of the reasons we should be proud of what we have. We don’t need to be racist or xenophobic; it’s demeaning and unnecessary. Get out, travel, see as many places as you can – that seems to be the underlying message here. If you can learn about the world, you can better understand your own place in it.

His observations are funny too; he has a disarming sincerity, which is very charming indeed. The crowd inside the Wee Coo warms to him immediately, and clearly enjoys his musings on the Italian comedy scene. It’s a lovely, enjoyable way to spend an hour, being gently coaxed to leave our comfort zones. Well worth a look.

4 stars

Susan Singfield

Margarita Dreams

05/08/17

Underbelly Med Quad, Edinburgh

Margarita Dreams is essentially a series of comedy sketches, tied together with a loose narrative. The conceit is simple: Dave (Jason Brasier) is on holiday in Mexico. On the beach, he drinks a few too many margaritas and falls asleep. What ensues is the product of a tequila-and-sun-soaked brain, all fevered imaginings and absurd nonsense.

There are a few standout moments: Jack Baxter’s song about string theory is enjoyably silly, and Bella Speaight’s ill-fated assignation with Brad Pitt is also nicely played.

But, in all honesty, the piece doesn’t really work as a whole. The dreams are curiously flat and it all feels a bit one-note. The jokes, by themselves, are rather weak, and I suspect they need much bigger, more exaggerated performances to make them fly. The actors are clearly giving it their best shot, but there isn’t much of substance for them to work with here. As it stands, there’s a whiff of the end-of-term show about it – and disco dancing isn’t funny in and of itself. There’s clearly some promise in this piece, and maybe it’ll grow with the run, but right now it’s landing somewhat wide of its mark.

2.5 stars

Susan Singfield

John Robertson – Dominant

04/08/17

The Stand 5, Edinburgh

John Robertson is, as ever, in no mood to take any prisoners. After a noisy rock-star intro, the antipodean raconteur bounds onto the stage and starts to lay into us, his beloved audience, tearing us to pieces with a string of savage observations. He tells us he has ‘too much confidence’ and even predicts exactly how the show is going to end. If we think he’s exaggerating for comic effect, we’re wrong. It happens exactly as he describes it and I have to say, it’s probably one of the most bizarre conclusions to any show I’ve seen in Edinburgh. And trust me, I’ve seen a lot.

Robertson is a regular fixture on the Fringe, both with his stand up routines and his interactive Dark Room role-playing game. (This year, he’s even doing a kids’ version of the latter, but don’t be fooled into thinking that means he’s generally appropriate for children – he’s most definitely not!) Tonight’s scattershot barrage of stories touches on all manner of subjects: his sexuality; the shortcomings of the room in which he’s performing (he describes it as a partially-filled broom closet); the strange mannerisms of the people who’ve turned out to see him; the fact that the woman from whom he’s just stolen a drink might have given him herpes; the news that the pet dog, whose death provided the inspiration for last year’s routine, isn’t actually dead because… well, you’ll have to see the show to find out about that.

It’s all (apparently) improvised – he proudly claims to never do the same routine twice – and, unless you’re very prudish, you will laugh yourself silly. You’ll also marvel at the man’s chutzpah, his invention, his intelligence and yes, his courage, because this is genuinely challenging stuff, much more so than what generally passes for ‘edgy’ material – mostly, I believe, because all of his excesses are anchored in some kind of reality.

In many ways, I think Robertson exemplifies the true spirit of the Fringe. When they come to hand out this year’s award, somebody should give him proper consideration, though I suspect he’s thought of as way too dangerous for that to ever happen.

Nevertheless, this show represents Robertson at the top of his game and, if you decide to pass him up for a bigger, safer bet, well, you’ll only have yourself to blame. You’ll be missing one of the best shows at the Fringe.

5 stars

Philip Caveney

Butt Kapinski

 

03/08/17

Pleasance Dome, Edinburgh

Butt Kapinski is a strange man. Called upon to investigate a series of murders, he embodies every  cliché of film noir: he stands beneath his portable streetlamp, pulls his trenchcoat around him, mimes an obligatory cigar – before regaling us with tales of life as an NY PI. The brainchild and alter-ego of American performer Deanna Fleysher, he is an oddly engaging creation, and the audience joins in willingly with this funny, interactive show.

Okay, so maybe it doesn’t dig as deeply as it could – several thought-provoking ideas are introduced and then left hanging – and the narrative, such as it is, could do with a more convincing pay-off. But it’s gutsy and it’s fun, and Fleysher works wonders with what the audience gives her. The character-exaggeration is pushed to extremes (those vocal contortions!) and has us laughing all the time. I can’t say more here without giving too much away, but this is a fascinating and unusual performance, well worth catching if you can. And don’t worry about being ‘picked on’ – the audience participation here is entirely voluntary, and Fleysher has perfected the skill of homing in on those who want to get involved.

4 stars

Susan Singfield

 

The Thursday Show

01/06/17

The Stand, Edinburgh

We have friends staying for a few days, and of course we want to show off our adopted city. In the daytime, we take them sightseeing in the Old Town, and then walking in Holyrood Park. As night falls, we lead them towards Edinburgh’s iconic comedy club, with the promise of a Thursday show that is sure to entertain.

In all honesty, we’re not au fait with any of the advertised acts, but that’s no bad thing. There are a lot of comedians working the circuit, and they can’t all be household names. We’re always happy to see something new (even if it’s only new to us), and our only fear is arriving too late to secure a seat. We’re just about in time to avert that particular disaster, although we’re perched on high stools at the very back. That’s the only drawback with this venue, really: arriving ninety minutes before the show begins is an irritating necessity.

Our compere is Jellybean Martinez, alter-ego of Matthew Ellis, and as high-octane a character as I’ve ever seen. He’s a tartan-and-frill-clad ball of energy, all bitchy campery and squealing laughs. He works the audience expertly, and – if he’s sometimes a bit much for me – the students on the front row lap up his attention. It’s adroitly done, and sets the tone for an evening we can all enjoy.

The opener is Rachel Fairburn, a Mancunian whose deadpan laconic style is bitingly funny. Her speech is laced with sweetened bile, turning humdrum tales of sibling rivalry into deliciously dark bon mots. I’d like to see what else she can do, and will make a point of seeing her show at the Fringe this year (Her Majesty, Just the Tonic at the Community Project).

Next up is Donald Alexander, a relative newcomer with a twitchy, nerdy persona, talking about being a primary school teacher and having sex with girls. It works: he’s likeable and engaging, and the crowd is on his side.

After the interval, there’s a surprise appearance from Danny Bhoy, who’s clearly working up material for his new show, Make Something Great Again For A Stronger Better Future Tomorrow Together. He is a welcome addition to the line-up, an astute and assured comedian with a lot to say. He’s our favourite of the evening, his political observations being both refreshing and dismaying – as well as funny, of course.

Glaswegian John Ross has the unenviable task of following Danny Bhoy, but he’s up to the job, making us laugh with his witty observations about enemas and railings. Yes, really. Enemas. And railings. He’s a hit with the students too; they’re raucous in their appreciation. Good stuff.

And then, before we know it, it’s already time for the headliner. Imran Yusuf‘s edgy set takes us into uncomfortable territory, but it’s excellent from start to finish. He’s very sharp indeed, making us confront the issues surrounding terrorism, as well as his frustration at always having to discuss this stuff, just because of his ethnicity. He’s certainly a comedian I’d like to see again, and I’ll be looking out for a full-length show.

All in all, we’ve had another great evening at The Stand. Our guests are happy and so are we.

4.2 stars

Susan Singfield

 

Richard Herring: The Best

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22/03/17

The Stand, Edinburgh

Let’s face it, it takes some chutzpah for a comedian to label his show ‘the best’ knowing full well the torrent of caustic putdowns that could inevitably follow such an outrageous claim. But after some discussion, we have to admit that there probably isn’t another stand up out there who is more deserving of the description. Herring has given us so much sheer enjoyment over the years.

We first encountered him at the Edinburgh Festival in 2010 with Christ On a Bike: The Second Coming and every year after that, the first show we would book would be his. We were distraught when he decided not to do the festival in 2015 and 2016, and delighted when we heard that he’s going to give it another shot this year. All in all, we’ve seen six of his shows and the beauty of it is, of course, that every one of them is completely different.

So here he is at Edinburgh’s most iconic comedy venue, offering 90 minutes selected from all 12 of his Edinburgh shows and we figure, if anybody has earned the right to perform a ‘best of’ compilation it’s the UK’s most hardworking (and in many ways, most criminally underrated) stand up comedian. He strolls onto the tiny stage, dressed more casually than we’ve seen him in a long time and launches headlong into his infamous Ferraro Rocher routine and as each successive clip segues into the next, the time just flies by while we sit there helpless with laughter.

It’s not rocket science. Obviously if you pick out all the funniest bits from over twenty hours of material, you’re going to be left with real quality and that’s pretty much what we get tonight, the perfect mix of silly, rude and cerebral. He keeps his Christ On A Bike material for the end and I still think that asked to pick my all time favourite, it would be this show, a dazzling tour de force of wit and invention, coupled with an amazing feat of memory – but that’s not to demean the rest of it. Herring at his least effective can still knock spots off most of his peers.

If you’re still unfamiliar with his work, we would urge you to seek him out at your earliest opportunity. If you can’t make it to a live slot, don’t forget there’s a whole raft of podcasts out there from his Leicester Square Theatre interviews, through As It Occurs To Me, right down to his Me1 vs Me2 snooker games. It’s all easily accessible and he leaves it up to you to decide if you ‘d like to pay him for the privilege of enjoying it.

There are precious few comedians who can offer such high output and fewer still who can maintain this level of quality. The Best? Yeah, we’re happy to go with that.

5 stars

Philip Caveney & Susan Singfield

Prevenge

31/01/17

Prevenge belongs to Alice Lowe. She’s the writer, director and the star – and the resultant singularity of vision gives this film a rare clarity. Truly, it’s a pleasure to watch this darkly funny tale, even if there are moments of such gruesomeness that I have to hide my eyes.

Ruth is a young widow, pregnant and enraged. Spurred on (she believes) by her unborn baby, she embarks on a killing spree, murdering her victims with ruthless determination. They include odious 70s music DJ, Dan (Tom Davis), workaholic CEO, Ella (Kate Dickie), and likeable climbing instructor, Tom (Kayvan Novak). Interspersed with visits to the midwife, these homicidal incidents grow ever more violent, yet – despite her obvious moral deficiencies – we remain firmly on Ruth’s side. She’s not likeable exactly – and why should she be? But her humanity is writ large; she’s an ordinary woman, with the same flaws and over-reactions that affect all of us. She just takes things to extremes, that’s all.

Lowe uses the obviously low-budget to her advantage: the film has a claustrophobic feel as we’re stuck with Ruth in cheap hotel rooms, the corner of a bar, another victim’s living room. The episodic structure means that it’s essentially a series of two-handers, but this plays to the story, and helps to underline Ruth’s isolation. The only constant in her life is the midwife. It’s a tragedy, I suppose – but a very funny one.

This screening is part of a Q and A tour, so we have the added pleasure of hearing Lowe speak about her project. Her enthusiasm is infectious, and it’s fascinating to hear how the idea for the film emerged: “A funding opportunity came up, and I thought, ‘Oh, but I’m pregnant, so I can’t…’ And  then I started to think about what I could do that would include my pregnancy.” Like all the best creative pieces, then, this is a mixture of talent, experience and happenstance. You won’t see another film quite like it. It’s well worth a visit to your local cinema.

4.6 stars

Susan Singfield