+3 Review: Mark Watson – I’m Not Here (Pleasance, Aug 16-21, 23-28 : 21.00 : 1hr)

Posted in 5*, Comedy, EdFestivals 2016, Potterrow & Teviot, Rated: Outstanding, Stand-Up by Jacob Close

“The definition of five-star comedy”

What is there left to say about Mark Watson? Returning to the Edinburgh Fringe once again, this comedy veteran is ready to prove he’s still got plenty of comedy muscle to flex, even if his ego hasn’t quite caught up with his skill yet.

Lit by the neon glow of his own initials, “I’m Not Here” is a journey through identity, celebrity and self-deprecation, all presented in Watson’s fantastic Bristolian twang. The best part of this performance (well, perhaps apart from the jokes) is the sheer amount of tangents Watson manages to swing down during the course of a single anecdote. He’s the comedy equivalent of a rambling great-uncle, but in the best way possible. Two stories stretched out across an hour, but it was never dragged: various twists of wit far too delicious to spoil what may have been a run-of-the-mill comedy show into an utter experience for all in the room.

And at the centre of it lies Watson himself: a man for whom fame has not come easily nor, often, recognisably. Anecdotes about famous comedian friends abound, but Watson never comes across as bitter. The type of comedy he champions is a razor-walk, but there’s never so much as a faltering step: the energy and emotional charge of his jokes work with almost Olympic precision and speed. Despite his considerable success and talent, Watson has managed to remain the ever-scrappy underdog, bruised by outside forces but never quite blown away – a refreshing contrast to the many Carrs and McIntyres in the comedy industry. The self-deprecating English comedian is a trope by now, but Watson proves he is still the undisputed master of comedic self hatred.

And, of course, this is all wrapped up in fantastic gags. The sheer density of jokes is mind-boggling, especially when none of them feel rushed or wanting for space. Watson is clearly in his element on stage, and his special brand of nervously energetic comedy is just as strong as ever. It’s always a good sign when the man sat beside you must wipe tears of joy from a face which, until Watson came on stage, was akin to a bulldog licking bleach off a thistle.

“I’m Not Here” is one of the biggest comedy events at the Fringe, and it’s well earned. Mark Watson shows once again why he’s arguably the defining personality for his flavour of comedy, without missing a damned step. This is the definition of five-star comedy.

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Reviewer: Jacob Close (Seen 13 Aug)

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15Aug2016

+3 Review: Rory O’Keeffe – Monoglot (Pleasance, Aug 16-29 : 16.45 : 1 hr)

Posted in 4*, Comedy, EdFestivals 2016, Pleasance, Potterrow & Teviot, Rated: Outstanding, Stand-Up by Jacob Close

“Monoglot? Perhaps. Monotonous? Certainly not.”

Editorial Rating: 4 Stars Outstanding

Most comedy shows I attend sober don’t begin with a five minute monologue by the empty mic. But then again, Rory O’Keeffe is anything but conventional. Through a tightly packed hour, he mimes, gurns and grins his way through a wonderfully punny routine based on the vagaries of language.

O’Keeffe himself looks like he should be a comedian. His boyish charms and the energy of his movements reinforce his sheer youth, but the confidence and the jokes are of a far higher calibre than one might expect for such a young man. Each ridiculously cartoonish movement was comedically precise and utterly free of inhibition, which cannot be said for many of his compatriots. If nothing else, this show would get a star alone for the sheer fearlessness with which O’Keeffe seeks to make a happy fool of himself. Despite his considerable vocabulary, it appears “inhibition” is one he hasn’t learnt yet.

But, luckily for all of us, his jokes definitely keep up with his own frenetic pace. Make no mistake: this is a downright clever show. As someone who loathes seeing a punchline coming, I might as well have been blindfolded in the dark. From the broad launching point of “language”, O’Keeffe manages to wring out a surprising variety of jokes – and, when I attended, flexed some serious improv muscle when it came to hecklers. Some of the best gags of the show were created on the spot, and it’s a real hallmark of quality on O’Keeffe’s considerable wit.

However, sometimes even the most runaway wit must be reined. A very distinct section which rounded off the show, whilst extremely impressive, wended a little too long, as often did a few of the foreign language jokes. That is not to say that O’Keeffe doesn’t manage to make unknown tongues funny, and far from it – but despite his skill (at least, for a self-professed monoglot) it’s always trumped by his own inventive observations about our shared mother tongue.

As far as hidden gems go, Rory O’Keeffe is a comedy diamond. Tucked away behind labyrinthine Pleasance as he is, he’s worth more than price of admission and job of seeking him out. Monoglot? Perhaps. Monotonous? Certainly not.

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Reviewer: Jacob Close (Seen 14 Aug)

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15Aug2016

+3 Review: Mark Smith – Old Smudge (Cowgatehead: Aug 15-16, 18-27: 17.30: 50 mins)

Posted in 3*, Comedy, EdFestivals 2016, Rated: Nae Bad by Jacob Close

“Witty, energetic and incorrigible”

Editorial Rating: 3 Stars Nae Bad

Although used to seeing Mark Smith backgrounded by a wall covered in his own name, he loses none of his charm when foregrounding walls are covered in the shattered dreams of interior designers. It’s hard to make a venue like his seem welcoming, especially in amongst all the cracked paint, but somehow Smith makes it a job that seems doable.

Ranging on subjects from bowling to duck penises, Smith’s methods are comfortably (depending on your disposition) familiar: witty, everyday observational humour with a wicked sting in the tail. The moment that Smith takes a pause after an apparent punchline is like watching a boxer wind up for a knock-out left hook: there were times when I was blown away by the sheer unexpectedness of his thinking, to wonderful effect.

And there’s no denying Smith is a charming man. You could see yourself going out for a pint with him, and when flashes of genuineness peek through the bravado, his inventively crude observations take on an almost sweet tone. Almost.

However, this was not a performance without its pitfalls. Smith sometimes spends far too long waiting on an audience which, in my case, was admittedly rather shy. At best it feels like stalling, and at worst it turns excellent pieces in jarring exercises in long pauses. His material works best when Smith is forging boldly ahead with his obviously prodigious skill, rather than symbolically asking the audience for permission to start the engines.

If you’ve a free afternoon, Mark Smith is an excellent way to banish the increasingly grey summer heat. Witty, energetic and incorrigible, it’s clear to see why Smith has graced many a television screen to great effect.

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Reviewer: Jacob Close (Seen 12 Aug)

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15Aug2016

+3 Review: Dreaming under the Southern Bough (theSpace @Niddry St, Aug 05 – 13 : 10.55 : 50 mins)

Posted in 3*, EdFestivals, EdFestivals 2016, Other, Rated: Nae Bad, Theatre by Jacob Close

“Consistently charming and fun to watch”

Editorial Rating: 3 Stars Nae Bad

If asked for which playwright 2016 marks four hundred years in the grave, you could be forgiven for answering “William Shakespeare”, rather than Ming dynasty writer Tang Xianzu. And with Fringe Shakespeare productions soliloquizing on every street corner, it’s almost refreshing to celebrate another famous, dead bard.

Telling an Alice-in-Wonderland-esque tale of transformation, reflection and po-faced absurdity, Dreaming under the Southern Bough follows the story of a veteran soldier gone to the dogs. However, a chance encounter with retainers from the Kingdom of Ants thrusts him into a world of royal intrigue, prophecy and war.

This is a performance which hits its stride when the surreality really hits the fan. As the plot goes into full swing, it’s hard not to be charmed by the performances at play: drunken retainers, pantomimic warlords and purer-than-thou royalty make for an experience which, whilst somewhat eclectic in terms of energy, is consistently charming and fun to watch.

Even with minimalistic lighting, stage and props, the atmosphere of classical mysticism is heavy even with the seemingly lightest of touches. Incorporation of the original Chinese in particular lends this production an often enthralling sense of place and context, adding significant substance to what in other hands may have been flimsy and unconvincing. Although the scenes taking place in the “real world” seem strangely jarring and stiff, the prose and flow of the writing feels right at home as soon as things hit microscopic.

The strongest aspect of this adaptation is the original writing, and it is a significant shame that the edition presented to Edinburgh is abridged – it would have been far more gratifying to spend more time amongst the follies and twists of the Ant Kingdom, rather than the emotionally unsatisfying ersatz-grit of the modern day bookends.
Despite its flaws, Dreaming under the Southern Bough is a pleasant and entertaining way to spend a lazy mid-morning. Whilst its denizens may be ants, it’s clear they’re standing on the shoulders of giants.

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Reviewer: Jacob Close (Seen 12 August)

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15Aug2016

+3 Review: Elf Lyons: Pelican (Voodoo Rooms, Aug 5-28 : 19.50 : 1hr)

Posted in 4*, Comedy, EdFestivals 2016, Other, Rated: Nae Bad by Jacob Close

“A smörgåsbord of comic delights “

Editorial Rating: 4 Stars Nae Bad

Generally, I tend not to trust people whose names are actual words. So, phonetically speaking, Elf Lyons wasn’t starting from a point of strength. However, after a fantastically absurd hour of screaming, tortured analogies and jokes about the French, I realised that perhaps it’s worth a change in policy.

Returning to the Edinburgh Festival, “Pelican” is a show (as Lyons puts it) about wishing her mother was dead. As far as thematic linkages go, it’s a doozy, and links in neatly with a smörgåsbord of comic delights pulled from Lyons’ bohemian life.

Elf Lyons’ greatest strength is immediately visible from the moment she steps on stage. The Philip Gaulier school is lucky to have such a talented clown among them – “cartoonish” does not do her justice: she has an almost fey energy to her, leaping and waving around on stage with strength unsuggested by her slim frame. Even when the occasional joke falls just short of the chortle line, her ostensibly boundless enthusiasm manages to nudge it across.

But, luckily, these scattershots are few. Far from allowing what is obviously a precocious wit to wither beneath her energy’s long shadow, it positively blooms. Much like her namesake, Lyons is far more of an opportunist than it may first appear, and an wonderfully unexpected sting after a few lighthearted puns definitely goes a long way. It’s not often that I’m surprised by a joke’s direction, but I’ll be damned if I wasn’t more than once during her short hour of comedy.

However, like many comedians, Lyons appears not to trust the quality of her own wit. Some jokes far outstay their welcome, when perhaps the beginning third would have been enough to coax a belly laugh from the audience. Her punchlines, though wonderfully clever, are delivered with more clarity than it appears she realises.

My usual recommendation for free Fringe shows is that you can’t go wrong: win or lose, nothing lost. But this is a show which deserves every penny it earns. The only reason against ticketing it is the possibility that someone will lose out on witnessing such a talented performer. Elf Lyons is certainly one to watch – though, don’t make the same mistake I did, and sit almost directly behind the pillar.

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Reviewer: Jacob Close (Seen 11 August)

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13Aug2016

+3 Review: Being Norwegian (Gilded Balloon, Aug 3-10 : 23.45 : 40 mins)

Posted in 3*, EdFestivals 2016, Potterrow & Teviot, Rated: Nae Bad, Theatre by Jacob Close

“A production wrought from the heart”

Editorial Rating: 3 Stars: Nae Bad

When I was first asked to review David Greig’s Being Norwegian, I expected something to do with hellish darkness and Kjøttboller. And whilst the former was surprisingly on the money, I certainly did not expect a neat, funny little vignette. Especially buried deep underneath the sports bar.

The setup is deceptively simple. Boy meets girl, boy is awkward, girl is Norwegian. Cue characteristic witticisms from Grieg, and a surprisingly dense plot for a play which takes about as much time as roasting a chicken. It’s the stage equivalent of tangled christmas lights.

Tom Hurley is a gem as the awkward and terribly British Sean, hopping between mental distress and crises of politeness with surprising ease. A high point of this production is the clear chemistry between Hurley and co-star Lisa Bennington, who brings a wonderfully sort of flighty etherealness to her part. As the show’s key components they work well together in a sort of chalk-and-cheese way, and it makes for a very easy watch. In terms of staging, it’s abashedly minimalist, but this in no way works against it. As a highly focused, emotional vignette, the staging and lights are just enough to accentuate the overall tone of the piece without feeling bare.

Despite its victories, however, there are a few defeats. At points the show seems to go beyond the pale of theatrical awkwardness, and simply lands in “static”. For some (admittedly smaller portions) it seems as if everyone in the room is waiting for something to happen. And, likewise, some of the more conversational segments seem a little on the stiff side. However, who could blame them – it is positively criminal to place this show in the venue it has been given. The artful musings of European cultural philosophy are somewhat muddled when the upstairs room has been booked for what sounds like a bath salts eating competition followed by celebratory karaoke.

Despite its flaws, this is a production wrought from the heart. A two-person show, however short, is difficult to pull off – almost as hard as thinking up jokes about Norway.

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Reviewer: Jacob Close (Seen 10 August)

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13Aug2016

+3 Review: Axis of Awesome (Gilded Balloon, Aug 12-24, 26-28 : 22.30 : 1hr)

Posted in 4*, Comedy, EdFestivals 2016, Gilded Balloon, Music by Jacob Close

“A bastion of dependable and hideously entertaining Fringe entertainment.”

Editorial Rating: 4 Stars Outstanding

My first contact with Axis of Awesome involved, like many other teens, me being glued to my computer screen as they rocked the hell out of a 360p feed on youtube. Now, a decade on from their founding, it’s clear that Fringe veterans Jordan Raskopoulos, Lee Naimo and Benny Davis are still soaring like a Birdplane even beyond the glittery lights of the LCD stage.

Whilst this review (as always) will attempt to avoid spoilers on the specific content of the show, let it not be said that the Axis does not begin on a high note. Their song “Elephant in the Room” is a fantastically witty product of self reference, and completely sets the tone for the rest of the show: heartfelt warmth, with a heavy dose of cynicism thrown into the mix. The quality of songs on display is very strong indeed: from rap to Bastille parodies, the musical nouse at play is almost unfalteringly good, save for a few sharp high notes in the group’s (often extremely) surprising vocal range. Davis in particular, despite his unofficial position as comedy whipping boy, continually proves he could go finger-to-finger with the best of them on the keyboard without missing a beat.

Between songs, the group’s clearly close dynamic is on full, glorious display. Though some of the skits felt a little low energy as the show warmed up for its final quarter, the inter-Axis fraternity outshines any qualms in terms of pure feel good factor. In an industry where so many horror stories abound of band members who cannot stand one another, bands like this one are increasingly rare. But even more rare, and all the more difficult, is for bands not only to stay friends through the rigours of long term performance; but also to keep that ember of their original intent and feeling alive.

But sat in an audience of hundreds, I might as well have been in my childhood bedroom again, eagerly clicking through links as the screen blinked out into the cathode-tinted night. The same thrill of discovery, the same laughs, and the same joy. And I think this illustrates what exactly makes this trio of modern day troubadours so compelling. It’s not their (considerable) musical skill, lyrics or even stage presence. They’ve gone through many changes over the years (the most obvious being that Lee is now bald), but Axis of Awesome’s greatest asset is that, at their core, they’ve remained wonderfully consistent. This is a show which has a little of everything: comedy, tragedy, horrifying mask props – all wrapped up into a neat bundle by music which will be stuck in your head harder than a sniper shot.

This is a show that proves, despite the ever-changing face of the festival, Axis of Awesome remains a bastion of dependable and hideously entertaining Fringe entertainment.

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Reviewer: Jacob Close (Seen 10 August)

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10Aug2016

+3 Review: Tony Roberts – Card Magic (Assembly Roxy, Aug 5-28 : 21.30 : 1hr)

Posted in 4*, Assembly Roxy, Cabaret, EdFestivals 2016, Rated: Outstanding by Jacob Close

“Absurdly clever card trickery”

Editorial Rating: 4 Stars Outstanding

I’ve never been very good at card tricks. As someone for whom maths lessons loomed like Banquo at the feast, knowing the number work at play in even the simplest sleight veered me sharply away. So when presented with someone who can do it with skill, I’m naturally impressed; and when presented with Tony Roberts, I was delighted.

Though the audience I saw him in was small, I feel this made no difference: Roberts is an expert at playing a crowd as if it was a one on one conversation, turning what could have been a small show in the Roxy downstairs into a warm, intimate and deeply interesting conclave. Hosted by the titular lauded businessman-cum-acclaimed street performer, ‘Card Magic’ (as Roberts so quickly and happily points out) is what it says on the tin – though perhaps without fully advertising the sheer quality of the product inside. And what that exactly is, much like the man himself, is hard to describe. Part comedy show, part biography and with a heaped helping of absurdly clever card trickery, this was a performance which never failed to intrigue and entertain.

This show’s greatest asset (quite fittingly) is Roberts himself. Deeply charismatic from the moment he opens his mouth, he fails to fall into the trap of braggadociousness which plagues so many contemporary street magicians. It’s like hanging out with an Australian uncle down the pub, if that very same uncle had spent a few years trapped in a Johnny Ace Palmer show. It’s clear from the get-go exactly how Roberts can draw crowds on a busy street – not only his wit, but his genuineness and warmth.

But, of course, being an ace with his suits doesn’t hurt either – and Roberts is clearly one of the best. Even with repeat viewings, his tricks would boggle the mind. Shaking his hand at the end of the show (as he humbly asks of every audience member), it’s almost surreal to recall the sheer dexterousness with which his fingers move. Although some of the tricks flowed a little too subtly on from his storytelling (though with shuffling skills like his, it’s difficult to tell when the real show’s starting), their denouement is always satisfying, whether you know you’re there at first or not.

This is the kind of show that makes children wish to grow up to be magicians, and adults wish they’d had the chance. But, as Roberts own story proves, it’s never too late to start seeing the magic – and I can think of no better show to pull back the curtain.

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Reviewer: Jacob Close (Seen 7 August)

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9Aug2016

+3 Review: Hot Brown Honey (Assembly Roxy, 5 Aug – 28 Aug : 20:20 : 1hr)

Posted in 5*, Assembly Roxy, Cabaret, EdFestivals 2016, Rated: Outstanding, Theatre by Jacob Close

“Gleefully challenges stereotypes of sex and race with a full grin, bared chest and raised middle finger.”

Editorial Rating: 5 Stars Outstanding

I sat for some time before writing this review trying to think of an introduction which best captured what I thought of Hot Brown Honey. But the truth is, there’s not much else which can compare to the bombastic gut punch of a burlesque show Assembly Roxy has somehow managed to contain inside their theatre. From the second that the glass-panelled hive lights roar to life, this show is a nonstop ride that has the audience welded to their seats.

Hosted by unapologetically badass MC Kim “Busty Beatz” Bowers, Hot Brown Honey is a raucously funny and entertaining trip through acrobatics, beatboxing, song, dance and everything in between. But don’t be fooled – despite considerable comedy thrills, it never strays from what makes it so compelling: a show which not only celebrates the power and complex femininity of women of colour, but gleefully challenges stereotypes of sex and race with a full grin, bared chest and raised middle finger.

To talk too much about the acts would lessen their impact, but it cannot be said enough that each segment of performance was distinct, feverishly well executed and consistently jaw dropping. Every single honey from this hive is impressive enough to warrant their own review, let alone packing every single one into a single critique. Of course, for those who aren’t fans of audience participation, proceed with tentative caution: a show like this one demands to spill out into the aisles, to surprising and hilarious results.

The honeycomb that links up this show, however, is both more subtle and infinitely more loud than the performers themselves. There are West End shows that could learn things from the tech team behind the burlesque extravaganza. The sync between every technical element and the behaviour of the set is nothing short of breathtaking, for those who can bear to concentrate on anything but the inspired spectacle going on centre stage.

But what makes Hot Brown Honey such an outstanding show goes beyond its strength in immediacy. When the applause stops and the doors are open, that doesn’t mean the show is over: the messages, ethos and enthusiasm for equality, sexuality and sensuality stick around far after the day is done. As a piece of burlesque, Hot Brown Honey is outstanding simply by merit of its performance. But as a complete show, its greatest triumph is that it fully achieves the vision set out by creators Bowers, Lisa Fa’alafi and Candy B: not simply social activism masquerading as entertainment, but a genuinely thought provoking thrill which, at least personally, will open the eyes of many to any issue they never even know existed.

If you like your shows sexy, superbly skillful and socially conscious, you cannot miss Hot Brown Honey this Fringe. It’s a rare show indeed.

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Reviewer: Jacob Close (Seen 6 August)

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9Aug2016

+3 Review: Tiff Stevenson: Seven (Assembly Roxy, Aug 8-14, 16-28 : 19.10: 1hr)

Posted in 4*, Assembly Roxy, Comedy, EdFestivals, EdFestivals 2016, Rated: Nae Bad, Theatre by Jacob Close

“Stevenson has a presence you could smash a wine bottle on”

Editorial Rating: 4 Stars Nae Bad

When you see a comedian on TV, it’s almost a coin flip as to whether they’ll stand up to their digital performance when you’re maybe ten feet away. For some, it’s clear that they’re funnier as a bundle of pixels – but, as in the case of Tiff Stevenson, proximity makes joke grow funnier.

Even when loping around the stage, Stevenson has a presence you could smash a wine bottle on. Despite being wrapped up in a thick web of humour, it’s clear from the outset that there’s an iron core to every joke: it’s as if scientists managed to fuse Belva Lockwood and someone’s drunk aunt. Pushing their own distinct beliefs is something, consciously or otherwise, all comics do; and Stevenson is a masterclass in delivering it without sounding evangelical. Even if you don’t agree with what she’s saying (however you’ve managed to come to that outcome), you’ll be hard pressed not to laugh along with her.

From the get-go, it’s an unmistakably zeitgeist-y set. In a surprisingly speedy hour, Stevenson runs the full gamut from bus bombings to baby showers, joyously flicking up v’s behind her as she runs from topic to topic. We might be awash in a sea of Macintyres, but Stevenson is one of many happy islands where comedy’s rebellious, fringe roots are still dug deep. No subject is too taboo, as she very happily reminds the audience throughout – however, often the transitional link between these subjects can wave from tenuous to unneeded, but as it takes up perhaps a minute of time in total, it hardly spoils the bunch.

If there ever was a complaint, it was that sometimes Stevenson doesn’t seem to trust her own considerable wit enough. Several times throughout the show, a fantastic joke was extended far beyond its peak, simply for the sake of explaining it. Whilst none of these jokes fell into “unfunny”, it certainly blunted the otherwise fantastically sharp tongue which dominate the rest of the show.

To talk too much about Tiff Stevenson’s set at the Roxy is to do her a disservice: half of the enjoyment comes from the unexpected directions she swerves with every punchline. But if you’re looking to start your evening on a high note, you’ll have no tiff with her.

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Reviewer: Jacob Close (Seen 6 August)

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Get Your Coats On

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Author Archives: Jacob Close

+3 Review: Mark Watson – I’m Not Here (Pleasance, Aug 16-21, 23-28 : 21.00 : 1hr)

“The definition of five-star comedy”

+3 Review: Rory O’Keeffe – Monoglot (Pleasance, Aug 16-29 : 16.45 : 1 hr)

“Monoglot? Perhaps. Monotonous? Certainly not.”

+3 Review: Mark Smith – Old Smudge (Cowgatehead: Aug 15-16, 18-27: 17.30: 50 mins)

“Witty, energetic and incorrigible”

+3 Review: Dreaming under the Southern Bough (theSpace @Niddry St, Aug 05 – 13 : 10.55 : 50 mins)

“Consistently charming and fun to watch”

+3 Review: Elf Lyons: Pelican (Voodoo Rooms, Aug 5-28 : 19.50 : 1hr)

“A smörgåsbord of comic delights “

+3 Review: Being Norwegian (Gilded Balloon, Aug 3-10 : 23.45 : 40 mins)

“A production wrought from the heart”

+3 Review: Axis of Awesome (Gilded Balloon, Aug 12-24, 26-28 : 22.30 : 1hr)

“A bastion of dependable and hideously entertaining Fringe entertainment.”

+3 Review: Tony Roberts – Card Magic (Assembly Roxy, Aug 5-28 : 21.30 : 1hr)

“Absurdly clever card trickery”

+3 Review: Hot Brown Honey (Assembly Roxy, 5 Aug – 28 Aug : 20:20 : 1hr)

“Gleefully challenges stereotypes of sex and race with a full grin, bared chest and raised middle finger.”

+3 Review: Tiff Stevenson: Seven (Assembly Roxy, Aug 8-14, 16-28 : 19.10: 1hr)

“Stevenson has a presence you could smash a wine bottle on”