Comedy

Much Ado About Nothing

06/02/25

Pleasance Theatre, Edinburgh

Let’s face it, judged by plot alone, Much Ado About Nothing is a bit, well… silly. Like most of Shakespeare’s comedies, the humour relies on disguise, misunderstandings and a fickle approach to romance. As an audience, we really have to suspend our disbelief. Would sworn enemies such as Benedick and Beatrice (Benedict Harrison and Verity Mann) really have an immediate change of heart thanks to some very unsubtly orchestrated eavesdropping? Both of them? It seems unlikely. Would a respected celebrant (Dylan Kaeuper) really suggest that a jilted bride should fake her death, or her father embrace the idea – agreeing that “death is the fairest cover for her shame”? Hmm. And would the groom – a mere twenty-four hours later – agree to marry his dead fiancé’s looky-likey cousin without ever setting eyes on her? I mean, that’s a no, right? Meanwhile, we’re also supposed to accept that no one in Leonato (Faolán Ingram)’s household suspects the decidedly dodgy – almost moustache-twirling – Don John (Cameron Broadly) of being a villain, despite the many outward clues. But still. It is what it is, and there’s a lot of fun to be had along the way.

EUSC’s production of this sprawling play is sprightly and engaging. The directors (Madeleine Brown, Marina Funcasta and Anna Simurda) have chosen to emphasise the humour, eliciting larger-than-life performances from their actors rather than aiming for anything subtle – and I think this is a wise move. The action has been moved from Italy to California, from the 16th century to the 1970s but, while the period is clearly-evoked, I’m less certain about the place. There’s certainly a laid-back Summer of Love vibe, but most of the music is British (Bowie, Bolan, The Sweet, The Police) and the majority of characters speak with English accents, so it all feels a bit more Camden Town than Haight-Ashbury.

Leonato’s estate is Party Central as he and his wife, Antonia (Maria Wollgast), play host to the local socialites. What better way to make a match for their beloved daughter, Hero (Francesca Carter)? The dope is plentiful, the drinks are flowing – and love is in the air. Claudio (Rider Hartley) fancies his chances with Hero, and she’s rather keen on him as well. But “the course of true love never did run smooth” (yes, I know – wrong play), and what could go wrong with Don Pedro (Eric Parker)’s complicated plan to woo the girl on his friend’s behalf? Throw in some meddling servants, a fabulously drunken henchman (Fraser Murray), a local constable (Robbie Morris) and a veritable army of liggers – and the scene is set for some merry mayhem.

It’s a great idea to have a live band on stage, although I can’t help feeling they’re under-utilised. Still, the young cast are clearly having a ball, dressed up to the nines in flares and sequins (floppy hats off to costume designers Paloma Leigh-Stevenson, Alex Dunlop and Bea Fitz), their delivery as bold and brash as the script demands. Not everyone has a lot to do, but they all make the most of what there is, and there are some lovely moments of background detail, such as Margaret (Mia Dé)’s horrified realisation that her tryst with Borachio is being used to frame Hero. Harrison (Benedick) and Carter (Hero) are the standouts for me, but all of the actors and musicians perform with gusto, and I am thoroughly entertained.

There are just two more chances to catch this groovy rendition of Much Ado, so why not head on down to the Pleasance and hang loose with the hippies? Be sure to wear some flowers in your hair…

3.4 stars

Susan Singfield

Síomha Hennessy: 30 Under 30

06/08/24

Gilded Balloon Patter Hoose (Nip), Edinburgh

Síomha (it’s pronounced Shiva) is 35 years old and somehow, against all her expectations, she’s still ‘unexpectedly unfamous.’ She’s bewildered by this and, to be honest, I’m as mystified as she is. From the moment she prowls confidently into the room and launches into her first song, she has the crowd at the Patter Hoose in her tenacious grip. That opening pop song is terrific, wonderfully catchy and with lyrics that make you laugh out loud. It’s an impressive start.

The ensuing patter is just as perfectly crafted: canny observations about growing up in Ireland, her disastrous relationships, the minefield of social media and some outrageously outspoken views about sexuality. A ‘folk’ song from the POV of her contraceptive coil is wonderfully surreal. Presented in the style of Luke Kelly of The Dubliners, it’s an absolute hoot, the premise being that – at 200 euros – the device isn’t earning back its investment.

And then, just when you think you’ve got the measure of Hennessy’s schtick, she delivers a soulful ballad about Instagram, which shows off her soaring vocal range to the full.

The hour positively flies by until a final song – which has the entire room happily singing along with the chorus – brings the show to its conclusion. We missed Hennessy at last year’s Fringe but I’m glad we caught her act this time. She’s definitely one to watch and, on this evidence, she won’t remain ‘unfamous’ for very much longer.

4.8 stars

Philip Caveney

The Ghost Train

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Royal Exchange Theatre, Manchester

19/05/15

The Royal Exchange are billing The Ghost Train as a comedy thriller, and there are certainly elements of both within Dad’s Army favourite Arnold Ridley’s 1920s play. It’s a lively production, performed with zeal by the ever-peppy Told By an Idiot, and there’s plenty to commend.

The premise is simple: six passengers are stranded at an isolated railway station, purportedly haunted by a ghost train. The play follows the development of their relationships, and unravels the mystery of the phantom. It’s hardly challenging stuff, but then, it isn’t meant to be, or at least not in this incarnation. Here, it’s clearly supposed to be fun – a riotous, silly, galumphing escapade – and it certainly had the audience laughing throughout.

There were a lot of clever moments: I love a bit of overt theatricality, so I was tickled by the narration-and-sound-effects idea at the start of the play (although I did feel it went on too long), and impressed by some of the set pieces, such as the initial (interrupted) train journey, and the prolonged parrot-chase. The cast revelled in the performance, and their enthusiasm was – at times – infectious.

However, despite (or because of) all the playfulness and witty ideas, the play just didn’t hang together. It was uneven and incoherent at times, with techniques shoehorned in as if it were an A level piece (where students need to demonstrate everything they know, all at once, even if it doesn’t really fit).

And, while some ideas were stretched to their limits – the ludicrous woman-in-a-parrot-suit, for example – other, more promising notions just weren’t taken far enough (the clowning was half-hearted; the drag act criminally understated), which was a real shame.

In all honesty, this play just didn’t work for me or my companions, but this certainly wasn’t a universal view. The house was raucous with laughter, and the applause was enthusiastic. Why not see it and decide for yourself? You certainly won’t be bored.

2.4 stars

Susan Singfield

Scott Capurro

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19/08/14

Assembly Rooms, George Street

Scott Capurro strolls onto the stage at the Assembly Rooms, looking like Kevin Bacon’s half-brother. He takes one look at the (rather sparse) audience and then he’s off and running. His sly, strangely endearing, but openly bitchy persona comes equipped with an excoriating tongue and a recklessness that means no subject is beyond the range of his scorn – race, religion, sexuality, politics… you name it; each subject is set up and summarily chopped down with a series of wicked one-liners. In short, this man doesn’t care who he offends and indeed, appears to revel in it. It’s saying something when a brief allusion to Robin Williams leaves him momentarily misty-eyed and after the vitriolic tirade that has preceded it, it’s this moment that seems shockingly perverse. 

Capurro achieves a powerful rapport with his audience even as he is ripping them to pieces. A guy to my left, despite being accompanied by his girlfriend is ‘secretly gay’ – and so Capurro flirts with him throughout the rest of the act. A married couple across the room, out to celebrate their 20th wedding anniversary, are depicted as a pair of inbred knuckle draggers. And when he discovers that Susan and I have been married for exactly one week and two days, we soon find ourselves the butt of his scorn… but we’re laughing and cringing in equal measure. Capurro isn’t going to win any awards for sensitivity but this show is as funny as it is outrageous and clearly deserves a bigger audience than it had tonight. Excellent stuff.

4.2 stars

Philip Caveney

Rob Newman’s New Theory of Evolution

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19/08/14

Stand On The Square, Edinburgh

Back in the 1980’s, as part of influential TV comedy troop The Mary Whitehouse Experience, Rob Newman became a household name. Shortly thereafter, with his partner David Badiel, he was one of the first comedians to play stadium-sized gigs around the UK. But then something went wrong and he dropped out of sight for quite some time. Now, after an absence of seven years, he’s back in Edinburgh, with this slice of anthropologically-inspired comedy.

The first thing to say is that it’s very original material and Newman approaches stand-up like no other comedian I’ve ever seen. It’s probably also fair to say that the results aren’t wildly funny, yielding smirks and knowing sniggers, rather than big laughs. This is clever stuff, perhaps too clever for tonight’s festival crowd, who’ve clearly come out fuelled by a couple of drinks, expecting something rather more accessible than what they’re given.

Matters aren’t helped by the fact that Newman seems decidedly ill at ease with his audience. He stalks up and down the small stage, putting everything he has into his delivery, the effort requiring him to mop at his perspiring face with a handkerchief, but he fails to establish any real rapport and that’s a problem. His wide-ranging talk is actually closer to a lecture than a comedy routine and it’s punctuated by a couple of songs, inexpertly bashed out on a ukelele, that fail to make any impact whatsoever. Perhaps in a more sober environment, this might have managed to generate more sparks, but tonight it comes across as something of a missed opportunity. Shame, because there’s a real intellect at work here, that fails to make a proper connection with its intended audience.

3.2 stars

Philip Caveney

John Lloyd’s Museum of Curiosities Live

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18/08/14

Underbelly, Bristo Square, Edinburgh

Radio 4 listeners will already be familiar with the format of this intriguing show, led by near legendary producer  and self-styled Professor of Ignorance, John Lloyd. This is simply a live performance of the same format but with a few visual aids thrown in. Here Lloyd is assisted by his ‘curator’ (Daniel Schrieber) and three guest speakers – author Frank Cotteral Boyce, QI researcher, Andy Murray (not THAT Andy Murray!) and ‘too many roles to list’ Clive Anderson.

The idea is that each guest suggests something that might be placed into the Museum and they discuss their choices in detail. Boyce chose a printed year-by-year edition of everything that’s on the internet (one hell of a big volume),  Anderson wanted the real King Macbeth (much unlike his Shakespearian equivalent, it seems) and Murray chose leeches, who he maintains, have a totally undeserved bad press. As ever, the show is witty, surprisingly informative and a very pleasant way to spend an hour. The earth didn’t move but after a series of loud frenetic shows, this was a nice relaxing slice of entertainment.

3.5 stars

Philip Caveney

Holly Walsh – Never Had It

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18/08/14

Assembly George Square, Edinburgh

Holly Walsh likes to paint herself as a bit of a nerd – back as a teenager, when all her mates were riding a maelstrom of illegal drugs and enjoying all kinds of sexual encounters, she was the one collecting her Duke of Edinburgh award. This pleasingly intimate performance is supported by her canny use of PowerPoint – a much neglected comedy aid. Some of her selected images have us laughing out loud, particularly her use of marginalia from medieval manuscripts (trust me, it’s much funnier than it sounds).

There’s also plenty of lively interplay with her audience, some cleverly improvised verbal exchanges and the performance never loses sight of its initial concept, that of the perennial ‘uncool’ individual beset by those who actually ‘have it.’ A sequence about a shaming event in a tapas bar was a particular highlight for me but, to be honest, the laughter never flags throughout the hour long set. Walsh may not be the coolest comedian on the block but, on the evidence of this show, she’s well on her way to being one of the funniest.

4.7 stars

Philip Caveney

Just Like That – The Tommy Cooper Show

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18/08/14

Gilded Balloon Teviot, Edinburgh

Tommy Cooper was a legendary comedian and it’s no surprise that in any given year at the Fringe, you’ll find a couple of tribute shows devoted to him. ‘Just Like That,’ featuring Lincolnshire-based John Hewer, comes with the blessing of the Cooper estate – and little wonder. While he doesn’t really resemble the late comedian, he nonetheless inhabits the man’s persona to an uncanny degree, offering a note-perfect set compiled from some of Cooper’s lesser known cabaret routines.

Cooper was one of those rare comedians who was just innately funny. His act, a ragbag collection of terrible puns and amateurish magic would have foundered and sunk in the hands of any other comedian. But Hewer knows exactly how do deliver the goods. Within minutes of his entrance, the audience are laughing hysterically and it never falters throughout the hour long show. Okay, so there are no surprises here – you get exactly what it says on the can. An impersonation of a comedy genius. But as a lifelong Cooper fan, I was transported by this show. Go along expecting nothing but a good, hearty laugh and you won’t be disappointed.

4.2 stars

Philip Caveney

Sara Pascoe Vs History

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14/08/14

Assembly George Square Studios, Edinburgh

Sara Pascoe is under the weather tonight. Some dreaded Fringe lurgy has struck and her set is punctuated by her recourse to occasional slugs of Lemsip. Whenever she attempts a high-pitched voice (for comic effect) what emerges is a kind of strangled squeak. So her delivery is perhaps more restrained than usual. But her vivacity and likeable personality shine through nonetheless and we’re treated to a confident amble through her childhood, with wry digs at former boyfriends and her current partner (fellow stand-up John Robins.)

Sexuality is a major theme here and while much of the material evokes wry smiles rather than belly-laughs, it’s nonetheless cleverly written and expertly knitted together. A story about being asked to provide an ‘intelligent’ quote for FHM magazine is a particular delight and a piece about human reproduction demonstrates that there’s real intelligence at work here and a determination to push the comedy envelope a little further than many of her peers.

This is political feminist comedy at its most engaging. I left with the distinct impression that had she been in full health, this would have been an even more satisfying event

4.4 stars

Philip Caveney

Jo Caulfield – Cancel My Subscription

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10/08/14

The Stand Comedy Club, Edinburgh

In Cancel My Subscription, Jo Caulfield doesn’t confound expectations so much as revel in them. She gives exactly what her audience expects: a caustic, bilious and gloriously profane account of the world as she sees it. The humour is largely narrative, and none the worse for it; Caulfield demonstrates with admirable aplomb how it is possible to push the boundaries of taste and decency without ever descending into “look-mum-no-hands-I-just-want-to-shock” territory. But shock she does: acutely timed references to polar opposites Jill Dando and Josef Fritzl leave the audience gasping, but with delight at her chutzpah more than anything else.

I really enjoyed this show. It didn’t surprise me, but then I didn’t go to be surprised. I went because I am a fan, and because I knew I would laugh myself silly.

And because I was born in the same hospital as her.

4.3 stars

Susan Singfield