Comedy

Sophie Pelham: Country Files

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25/08/15

Pleasance Courtyard, Edinburgh

Down the stairs in the cellar of the Pleasance Courtyard, Ms Vanessa Bluwer is waiting to greet you with a glass of cheap sherry and a miniature sausage roll. It’s a wonderfully informal start to this affectionate slice of character comedy. Ms Bluwer is, of course, just one of several people played by Sophie Pelham, all of them from rural Wiltshire and all doubtless based on observation of real people – or at least, so it seems. The characters include retired model-turned-Mum, Sulky Waterboat, the lecherous Lord Ponsonby and a pony-mad eight year old girl addicted to biscuits. There’s even a couple of animal characters thrown in for good measure, a relocated urban fox and a rapping badger (yes, really!)

There’s a meagre crowd for this event, which is a great shame because this charmingly ramshackle show is all based around Pelham’s hilarious exchanges with the audience and in the intimate confines of the cellar, this would have worked a whole lot better if there’d been more people for her to talk to. Her characters are nicely drawn and there are some genuinely funny lines in there, but it’s by no means perfect. She needs to find a way to streamline the proceedings and give us something more to do during her many costume changes, but overall there’s loads of potential here and I rather enjoyed the performance (even the bit where Ms Bluwer chose me as an assistant with whom to demonstrate mouth-to-mouth resuscitation!)

If you’re looking for something quirky and eccentric, this could be just the thing. And if you’ve a taste for sherry and sausage rolls… this line is made for you!

3.5 stars

Philip Caveney

Tom Neenan: The Andromeda Paradox

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24/08/15

Pleasance Dome, Edinburgh

Professor Bernard Andromeda has devoted his life to researching strange phenomena – so when a mysterious prehistoric artefact is discovered in a disused London tube station, his curiosity is immediately aroused – especially when said artefact is inscribed with his name. He sets about trying to discover its origins and finds himself embroiled in a mystery that will challenge his scientific beliefs to the core, one that leads to the realisation that alien forces are at work. Soon much of the population of London has been turned into hordes of zombies all chanting his name and he is the only man who can avert disaster…

Tom Neenan has written a wonderfully affectionate parody of Nigel Kneale’s landmark sci-fi tale, The Quatermass Experiment, in which he plays all the characters – from a strange German professor who has taken his experiments with flowers a bit too far, to Andromeda’s adoring female assistant who is prepared to use her feminine charms to help him solve the mystery. Neenan is an expert story teller and he milks the comic potential of the 50s setting with great skill, aided and abetted by a script that is laugh-out-loud funny – the scene where one of Neenan’s hands transforms into an adorable alien creature… ‘no bigger than my hand,’ is a particular delight. There’s wonderful stagecraft here too. A whole range of locations are evoked simply by the positioning of a table and chair and Neenan’s sweet posh-boy persona is exploited to the hilt.

The performance is peppered with plenty of in-jokes but you don’t need to be familiar with the original material in order to enjoy this deliciously silly slice of nonsense, which is designed to appeal to people of all ages. Fabulous stuff, I urge you to catch it.

4.5 stars

Philip Caveney

Fully Committed

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24/08/15

Underbelly Potterrow (Venue 358)

We all know Marcus Brigstocke as a stand up comedian and radio show host, but can he act? On the strength of Fully Committed, the answer is a resounding yes. This sprightly one-hander tells the story of Sam Peliczowski, an affable out of work actor who, for the moment at least, has the more mundane task of running the reservation phone lines at Manhattan’s most exclusive restaurant. We join him at the beginning of an absolute day from hell, when his co-worker has failed to turn up and Sam is left to run the show single-handed. But didn’t I say that this was a one-hander? Well, yes, because the trick here is that Brigstocke voices all the characters that Sam speaks to on the phone lines (40 of them in total) supplying their respective accents and mannerisms into the bargain. It’s a monumental undertaking and the script must have been a nightmare to memorise, but Brigstocke handles it effortlessly, giving us amongst others, a foul mouthed Bronx chef, an anxious female socialite and his own father. Most of the characters are American and the wonder is that the audience never struggles to know which character is speaking at any given point.

For the first few minutes, I wasn’t sure the play was going to work, but once into his stride, Brigstocke manages to convey the madness and anxiety of the situation spelled out in Becky Mode’s frothy script, snapping from character to character at lightning speed and as the demands on Sam become ever more frenetic, you can’t help feeling for him.

This is classy stuff and Brigstocke seizes the opportunity to extend his range. Catch it before it’s gone.

4.2 stars

Philip Caveney

Markus Birdman – Grimm Realities

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22/08/15

Canon’s Gait, Edinburgh

There’s an absolute multitude of acts available on Edinburgh’s Free Fringe this year and we rather liked the sound of Grimm Realities, even though it meant squashing ourselves into a hot and sweaty cellar room in order to experience it. Birdman is an interesting character. He’s done plenty of regular stand up work, over the years, but because he’s also an illustrator (as a child, he was made to draw bible stories by his preacher-man father) he decided this year to integrate his artistic endeavours into his set. And it works well.

It’s mostly about a father’s anxieties as his 10 year old daughter takes her first tentative steps into adolescence, and Birdman’s sly, witty patter is punctuated with extracts from two illustrated books he’s produced, twisted versions of the classic fairytales Cinderella and Little Red Riding Hood. Pages from the books are displayed on a screen by way of a visualiser –  essentially a souped up version of an OHP. As you might expect, Birdman’s versions are franker than the originals, spelling out the issues that the Grimm brothers could only allude to. (If you’re in any doubt, Birdman makes regular use of an insert with the words ‘This is an metaphor’ printed on it.

It’s appealing stuff. When Birdman asks if there’s a father and daughter in the audience, Grace and I seem to be the only ones who qualify (or at least, the only ones willing to own up.) This let’s us in for plenty of comic asides and knowing looks. And as a father who published a book that was originally written for his daughter, I found a lot here to identify with.

So, if you’re in Edinburgh and your finances are running low, make your way to Canon’s Gait and grab a pass for the afternoon show. It’s cheek by jowl down there, but well worth the effort.

4 stars

Philip Caveney

Alfie Brown: -ism

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22/08/15

The Box, Assembly George Square Theatre, Edinburgh

Alfie Brown exudes promise. He’s seething with potential brilliance, and some of this uneven set is genuinely great. There’s real ambition on show here; this is not a cosy, resting-on-the-comedy-laurels kind of gig at all. And when it works, it really works.

Brown has an engaging intensity; he clearly sees comedy as a vehicle for challenging perceived wisdoms, and pushes himself (and the audience) to think beyond the obvious. He never seems to go for the easy laugh – even when, quite honestly, it might help the show along. There are some routines, such as the brutally honest tale of his relationship with Jessie Cave, where he is in total command of his material, and the audience responds really well. But the set lacks a coherent structure, and peaks and troughs in odd places. The final section, an attempt to discuss political posturing and the pointlessness of preaching to the converted, has the makings of a fine routine, but is derailed somewhat by the audience’s reluctance to answer his question about our own political views (I, in fact,  did volunteer a response, but I was the only one), and never really recovers from this, failing to reach any sort of conclusion, or even provoke a lot of thought. Still, I’d rather watch this ambitious young comedian experiment with an idea that doesn’t quite come off, than sit through an hour of safe crowd-pleasing with someone better-known (and there’s a lot of that about, of course).

Take a chance; give him a go. I think he will be really big one day.

4 stars

Susan Singfield

Aunty Donna

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21/08/15

Gilded Balloon Teviot, Edinburgh

I didn’t think I liked sketch comedy. I don’t, much, when it’s on TV – when ideas and catchphrases are repeated throughout an entire season, and it all gets a little bit dull.

I discovered tonight, however, that I might like sketch comedy when it’s live – I liked this sketch comedy, anyway. They’re certainly popular; the venue was packed. It’s great to see strong acts getting the audiences they deserve.

Aunty Donna are three Aussie blokes (Broden Kelly, Zachary Ruane and Mark Samual Bonanno) and their frenetic, silly, high-octane antics kept the audience truly entertained. There was never a let-up in the pace (within minutes the trio were raining sweat upon the front row) and the sheer variety of sketches was most impressive. Standouts included the Bubble Bath Boys (who’d hijacked the show), a scene about taking in a ‘stray man’ and the recurring trope of ‘the man who…’ – a delightful piece of whimsy, which really made me laugh.

The ideas are all drawn together nicely at the end, making this a perfect choice for a Friday night show: it’s energetic, irreverent and a whole lot of fun.

4 stars

Susan Singfield

Sarah Kendall: A Day In October

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21/08/15

Assembly, George Square, Edinburgh

You’ll find plenty of stand-ups at the Fringe, good, bad and indifferent but Sarah Kendall works differently to most other comedians. In ‘A Day in October’ she gives us what is essentially a protracted exercise in skilful storytelling, something that’s clearly based around real life experiences she had in her youth, in Newcastle, Australia. From her vivid descriptions of the inhabitants, it wasn’t on the tourist routes. This is the story of George Peach, a boy at her school who was constantly bullied and it’s about the awful accident that turned his life around.

Kendall really excels here, building the story piece-by-piece, layer-by-layer, dropping a whole bunch of clues that really should warn us about what she’s going to do, but at the same time, expertly misdirecting us so that the final twist, when it comes, is absolutely shattering. I don’t want to give the impression that this is not brilliant comedy: it is, and those in search of a good laugh will not be disappointed. But there’s also a deeper intelligence at work here, something which elevates this show above much of the competition.

The term ‘comedy gold’ is often used but rarely as thoroughly deserved as it is here.

5 stars

Philip Caveney

John Robertson: The Dark Room – Symphony of a Floating Head

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19/08/15

Underbelly, Cowgate, Edinburgh

Fancy watching a genuine phenomenon? One that’s built around a love of those text-based 80s video games where you are invited to choose various options in the hope of winning? Well, essentially that’s what The Dark Room is all about. There’s a £1000 prize on offer… and before you say something like ‘yeah, that’s not going to happen,’ let me assure you that host John Robertson told me that the prize has been won twice (on two consecutive nights) in 2015. So chew on that.

Let me set the scene for you. You’re in a damp, rather smelly room on Cowgate. Images flicker up on a rumpled screen. Then in strides Robertson, dressed in a manner that makes you think he must have loved Mad Max: Fury Road. (Well, he is Australian.) He climbs onto the stage and quickly takes control of the sizeable crowd. Robertson is very funny, slick, sharp-tongued and a bit of a bully. He immediately chooses his first contestant which as luck would have it, is me. He gives me the name Darren (he gives everyone this name) and I start haplessly choosing options while Robertson hurls abuse at me for everything I do. Inevitably, I am dead after just a few goes and I am assured that this is the fastest round ever played on the Fringe (i.e. I’m completely useless) He gives me a prize (a plastic starfish) and promptly moves on to other victims.

It’s fast, frenetic. One contestant has clearly had way too much to drink and starts to get lippy, but Robertson deals with him expertly, turning the man’s churlishness back on himself. A thirteen year old girl has a go and Robertson walks an expertly balanced tightrope between what’s acceptable in such a situation and what clearly isn’t. Apparently the game gets a lot of repeat custom as punters come back, having decided that next time they’ll surely make the right choices.

I’ll be honest, we really didn’t think this one would be for us… neither of us have played those text-based games or have the first idea of strategy, but it hardly matters. This is enjoyable stuff, often laugh-out-loud funny and it’s not long before you’ve memorised Robertson’s repeated lines and are shouting along with him. ‘You die, you die, you DIE!’

4.2 stars

Philip Caveney

Morro and Jasp Do Puberty

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18/08/15

Gilded Balloon Teviot, Edinburgh

Female clowns are hardly a new phenomenon (there were the glee-maidens of medieval England, for example, or the famous Columbine, Franceschina and Smeraldina characters from Commedia dell Arte), but it’s certainly rare to see a contemporary clown show centred entirely on the tribulations of teenage girls. The characters, Morro and Jasp (Heather Marie Annis and Amy Lee), are sisters and, in this latest offering, they ‘do puberty.’ And boy, do they do puberty.

I’d never have thought it, but actually clowning seems like the natural form for an exploration of a young girl’s angst. The exaggerated, melodramatic nature of the genre is ideally suited to the heightened emotions and over-reactions we all experience when we’re growing up. Getting your first period is hugely important when you’re a teenage girl, and it really does matter if your little sister gets hers first. Annis and Lee completely nail the sisters’  conflicting emotions: Morro’s disgust at having to take time off from soccer-baseball because of all this icky adult stuff; Jasp’s desperate longing for a boy to put her on his list. These are feelings we can all relate to – men and women – because we’ve all experienced the hell of puberty.

Annis and Lee are consummate clowns, imbuing the simplest of ideas with life and vigour. This is fresh, funny and insightful comedy, and definitely worth seeing.

4 stars

Susan Singfield

Lou Sanders: Excuse Me, You’re Sitting On My Penis Again

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18/08/15

Laughing Horse@City Cafe, Edinburgh

It’s thanks to Richard Herring that we’re here. We heard his RHLSTP (Ruh-Huh-Luh-Stuh-Puh!) interview with Lou Sanders, and rather liked the sound of her. So we sought out her show in Edinburgh, and we’re very glad we did.

This is a Free Fringe event, and the venue’s a bit on the rough and ready side – a hot and sweaty cellar room, with fold-up chairs and no raking – but we’ve got seats at the front and we’re comfortable enough. And Sanders is every bit as daft and energetic as the podcast suggested.

The show’s premise is typically odd: Sanders decides to apply to Eton. Why not? Everybody knows that Eton alumni are hugely successful. Why shouldn’t a grown woman without access to the fees apply to an elite boys’ school? What could possibly go wrong?

Sanders is a charming performer. The show is ridiculous – in a delightful way. There are masks, there are audio clips, and there’s a lot of silliness – but, actually, there are serious points being made here too. Why is privilege only conferred on to a few? Why do the rest of us accept we can’t have what they’ve got?

So if you’re at a loose end at 5.30pm, and find yourself in the Old Town – this one’s definitely worth queuing for.

4 stars

Susan Singfield