Category Archives: Comedy

Princess Party (Gilded Balloon, Aug 3-11, 13-18, 20-26 : 22:30 : 1hr)

Posted in 4*, Comedy, EdFestivals 2019, Gilded Balloon, Theatre by

“Required watching for anyone who wants to be in a comedy duo”

Editorial Rating: 4 Stars: Outstanding

It’s 4pm on a Saturday. The sun is beating down through the window and drowning my laptop screen, but it doesn’t matter. After a half hour, I’ve got nothing to show for all my squinting and sighing except for unanswered questions: how do you talk about the incredible comedic restraint in a show that starts out with everybody being flashed? What kind of production simultaneously respects and ridicules its audience? How do you even begin to describe Princess Party?

The synopsis is simple enough: it’s a duo comedy presented by comedians Lauren Howard Hayes and Hannah Pilkes, about a rich kid’s birthday party that goes horribly wrong. The audience are the children, and sometimes the parents. You get to hold a cool flashlight. Telling you any more than that would be revealing far too much, and give Hayes and Pilkes too little credit.

Princess Party is a lot of things. It’s the best party you’ve ever been to, wrapped in the worst party you’ve ever been to. It’s like going to Disneyland, if Disneyland let in people who’d been drunk for three days. But most importantly, Princess Party is a masterclass in how to properly implement artistic restraint and make hard comedy look easy.

From the outset, the basic mechanics of the piece are excellent. With an impressive pile of acting, writing and comedy credits between them, Hayes and Pilkes are very visibly comfortable in their craft. Punchlines are crisp and well execution; physical clowning elements have complete follow-through; and everything is presented with a confidence and polish that can only come from collaborators who know how to fit into their genre like water in a glass.

And make no mistake, Hannah Pilkes and Lauren Howard Hayes are the show. It’s hard to nail down exactly what each brings to the table, but only because they jump from role to defined role like it’s child’s play. Pilkes plays the perfect dope, but her sense of comedic timing and verbal dynamics would make a razor weep. Hayes, who so effortlessly channels a living cartoon from the moment she’s on stage, can go acid queen in a single wig change. But what’s so truly excellent about this show, oddly enough, is invisible. To define it, we’ve gotta talk about nudity.

I have a lot of thoughts on comedic nudity. It’s not hard to pull off (you’re welcome), but damn hard to actually do well. Audiences have a level of shock fatigue, and if it’s not incorporated enough or relied on too heavily, it can come off as crass and lazy. Even worse, it can pull an audience out of the flow entirely. But in Princess Party, it’s funny as hell – It’s not played for too long, or too hard, and is so at home in its setting that you can only think “well of course this is happening”. Beyond the visible, it’s an incredibly impressive display of artists who know the relationship between shock and restraint.

So why is that important? Because it applies to every other joke and theme in the show. Controversial jokes and setups only stick around insofar as they’re funny, and never push themselves into bad taste. Do they toe the line? Pilkes and Hayes have basically built a big mansion on the line. But God knows they never cross it. It’s a testament to how tight and well crafted their material is, and a joy to watch.

The same goes for the multimedia portions of the performance. Despite a few visible command boxes, it’s seamless and ultimately serves its purpose without ever sticking out or dragging. As a cover for costume changes, its brevity only becomes more impressive.

Does everything in the show work? No. Because of the creative talent on display in other portions of the performance, certain skits (particularly the balloon artist sketch) seemed sluggish by comparison. Although these pockets of slowdown seldom lasted long, and were usually ended with some crackling improv, they were nevertheless noticeable in amongst the otherwise flawless wallpaper.

Princess Party is, if nothing else, a wonderfully crafted piece of entertainment. When I one day ascend to power and rule with neither pity nor mercy, it will be required watching for anyone who wants to be in a comedy duo, and/or anyone who thinks lavish parties for children are a good idea. Hannah Pilkes and Lauren Howard Hayes are damn funny people, and this show is a love letter to the hard work it takes to make that talent into something worthwhile. If you’re in need of laughter, this is the next best thing to nitrous oxide.

outstanding

StarStarStarStar

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Reviewer: Jacob Close (Seen 2 August)

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Daliso Chaponda: What The African Said (Gilded Balloon at the Museum: 19-26 Aug: 19:30: 60 mins)

Posted in 5*, Comedy, EdFestivals 2018, EdFestivals 2018 – Reviews, Gilded Balloon, Rated: Outstanding by

“This is must-see standup.”

Editorial Rating: 5 Stars: Outstanding

A hilarious, hilarious show. After rising to prominence on Britain’s Got Talent and touring various parts of the globe, Daliso Chaponda performs eight nights at Gilded Balloon’s Museum auditorium space, and take it from me, this is must-see standup. The comedy is clever and uproariously funny, the persona is both charming and caustic, and the hour is so packed with brilliant setups and payoffs that at only 60 minutes it feels altogether too short. 

Topics range from his road to standup, to his childhood, to his nationality, to newfound success, and other well-trodden ground for standup comedians — especially ones at the Fringe. Yet What The African Said never feels lazy or recycled; though these topics are not new subjects on the comedy stage, here they are spun with Chaponda’s unique charm and dexterity, so even an early-on Brexit joke provokes a much more appreciative giggle than 99% of the bone-tired political material bouncing around microphones all over the city.

Of course, he also ventures into fresh, intriguing territory, such as riveting takes on racism online and in person, European arrogance in education, and the hairpin tendencies of so many to take offence at so much. Some of his most delightful and arresting material takes aim at racial difference and touchiness, yet with exceeding grace and humility — it is telling that even as he acknowledged an upcoming one-liner caused (dubiously sensible) widespread offence and alarm, the audience felt prepared for a clever and commendable jab regardless of more sensitive reactions. Needless to say, the line in question is spectacularly funny and had me smiling hours after the performance; it boggles the mind that certain audiences did not feel the same. This is a man who knows how to write a joke.

Chaponda could be said to walk the fine line between probing race and racism and toying with it, yet he speaks and jokes with such confidence and wit that even his incisive commentaries are accompanied with a genuine laugh alongside them. On that topic, there is no shortage of incisive commentaries in this show; Chaponda’s comedy is matched with an impressive back catalogue of information and knowledge, which embeds his witticisms with a well-earned sense of genuine understanding, rather than flippant mockery. On top of that, the Malawi-born comedian includes some affectingly personal undercurrents to his material — not in the way so many other Fringe comedians work in an ‘emotional side’ to their standup, which has practically become clichéd by now — but again in a commendably honest and somehow quite fun aside to his more ribald suggestions.

Overall, this is a practically perfect hour of comedy, and one of the most enjoyable and rich standup performances I have experienced this year. Go and see it.

 

outstanding

StarStarStarStarStar

Reviewer: Nathaniel Brimmer-Beller (Seen 22 August)

 

Athena Kugblenu: Follow the Leader (Underbelly Bristo Square: 1-26 Aug: 17:30: 60 mins)

Posted in 4*, Comedy, EdFestivals 2018, EdFestivals 2018 – Reviews, Rated: Nae Bad by

“A standout voice in the Edinburgh comedy lineup.”

Editorial Rating: 4 Stars: Nae Bad

In Athena Kugblenu’s new hour, entitled Follow the Leader, the term ‘pregnant pause’ gains new meaning. To explain, not only is the witty and clever comedian currently with child, but her slick and punchy new hour of standup is frequently based on letting extended, exasperated silences serve as the punchlines themselves. This approach loses no hilarity, mind you, and in fact proves quite a clever move for Kugblenu, a standup presence so engaging and poised onstage that you know whatever she says next will either be witty or a genuinely good point, and frequently both. 

Kugblenu loosely bases this show on the notion of trusting and following leaders, and how that does and does not help our ultimate goals. She incorporates funny and knowledgeable examples of leaders we probably should not admire so fervently, and contrasts them well with societal tendencies and cultural expectations that should similarly be reevaluated. Not every punchline is quite risible enough to create a consistently side-splitting hour, but ultimately, Follow the Leader is a good deal of fun and a thoroughly enjoyable walk through Kugblenu’s outlook on life and people. 

Her material ranges from political loyalties and questionable leanings to amusing anecdotes about herself and how she gets by. She touches on some hilarious ideas, such as more evidence-based alternatives to unfair government policies, and the relative pressures of ‘positive racism’ and similarly strange treatment from white to Black people. Her musings on international food and her unborn child also hit high notes, and though perhaps her material on being drunk and having sex could use a bit more workshopping, overall, this is a charming and well-spent hour of standup, and a standout voice in the Edinburgh comedy lineup.

 

nae bad_blue

Star (blue)Star (blue)Star (blue)Star (blue)

Reviewer: Nathaniel Brimmer-Beller (Seen 22 August)

 

Kate Berlant: CommuniKate (Assembly Studios: 1-26 Aug: 21:15: 60 mins)

Posted in 5*, Comedy, EdFestivals 2018, EdFestivals 2018 – Reviews, Theatre by

“It has been a long time since I experienced a set as effectively hilarious.”

Editorial Rating: 5 Stars: Outstanding

The nicest thing about watching Kate Berlant’s Fringe debut CommuniKate is that you can rest assured you will find something to laugh about for just about every minute of the show. No disrespect to the more serious-minded comedy offerings that speckle a great deal of the Fringe’s stand-up lineups, but judging by pound-for-pound side-splitting material, it has been a long time since I experienced a set as effectively hilarious as Berlant’s. 

The most difficult thing about the show is how remarkably hard it is to explain to the unconverted. Berlant’s entire persona — even onscreen, in brilliant comedies such as Search Party and Sorry To Bother You — is very, very specific, even verging on one-note. She is obnoxious, endlessly, obliviously egocentric, and a perfect manifestation of just about everything older generations seem to disrespect about “millenials,” whatever that means. She claims she is brilliant, gifted, destined for greatness, artistically burdened by her loving upbringing and uncomplicated life, and here to better us with her presence. But somehow, the overwhelming egocentrism is delivered with note-perfect confidence and consistency that it all results in deliriously fun. 

The supposed ‘hook’ of the show, though only introduced halfway through the set, is that Berlant is psychic, and can effortlessly sense facts and details about the audience at will. This leads to some delightfully specific premonitions about the assembled crowd, which are sure to elicit reliably amusing results every night, making this approach a fruitful and clever Fringe offering. 

Outside of the supernatural, Berlant mainly hopscotches around from topic to topic, delivering so many great punchlines and character ticks that it can be hard to keep up with this egomaniac’s self-obsession and sickening self-assuredness, but the whirlwind miscellanea is all part of the act. For those who prefer their comedians humble, perhaps look elsewhere, but for those who appreciate a vicious lambasting of the “I can do anything”-ness of certain members of society, perhaps you might appreciate Berlant’s thorough bollocking of the art of overconfidence. (At times, however, I must admit, as a deep fan of Search Party myself, Berlant’s schtick veers questionably close to comedian John Early’s general vibe, yet at the risk of comparing comedic methods unnecessarily, let’s leave that line of questioning there.)

Even the way Berlant says the word “bread” is funny. Odds are you will leave CommuniKate having laughed at quips, jabs, and ruminations you never thought could be remotely amusing, but as the Fringe is a hub and a home for comedy that finds hilarity in the strangest approaches, Berlant’s show fits right in and excels commendably. It might inflate the onstage ego more than ever, but bravo on this one, it’s a great show. 

 

outstanding

StarStarStarStarStar

Reviewer: Nathaniel Brimmer-Beller (Seen 7 August)

 

Bowjangles: Excalibow (Gilded Balloon: 1-26 Aug: 14:00: 60 mins)

Posted in 4*, Comedy, EdFestivals, EdFestivals 2018, EdFestivals 2018 – Reviews, Gilded Balloon, Music, Rated: Outstanding, Theatre by

“I don’t think I’ve ever come across a more multi-talented group”

Editorial Rating: 4 Stars: Outstanding

Bowjangles are not your average string quartet. Indeed, they extend the well-known triple threat (performers who can sing, dance and act) to a fourth dimension by adding the musical string to their bow. (Sorry). And what’s more: they can do all four at the same time. Prepare to be amazed as these performers act out a dramatic saga while accompanying themselves (more than capably) on their instruments.

Excalibow is Bowjangles’ latest Fringe offering (marking the troupe’s 10th year together) and sees them embark on an adventure to find the magical bow Excalibow, which will enable them to become (ahem) the Lords of the Strings. Yes, the jokes and musical puns are that good throughout. It’s a fairly ridiculous story, that unfortunately come across as a rather hastily put together pastiche of fairytales, but the characters are fun and fantastical, and the ever-changing mood created by the performers and their instruments is nothing short of masterful. I don’t think I’ve ever come across a more multi-talented group in all my years of reviewing.

What really makes this performance special, though, is the chemistry and personality that ooze from this awesome foursome. They appear very natural onstage together, and are clearly very well-rehearsed and comfortable in being able to deliver this slick and energetic production. Their smiles never stop beaming, so even if the thought of watching an all-singing, all-dancing string quartet brings you out in a cold sweat, you’ll no doubt find yourself swayed into at least a grin by their charm and charisma.

For me, the overall structure and narrative of the piece is where it all falls a little awry, as the action chops and changes between many locations and subplots that it all gets somewhat confused – though the fun and frolicking nature of the performance makes this relatively unimportant in terms of overall enjoyment. Particular highlights include a snippet from a well-know ABBA song, and a comedic take on a certain moment from the film Titanic.

This is a show that’s bags of fun, packed with personality and great for the whole family (bar the odd naughty word which slips out). A definite for the shortlist as a welcome break from some of the harder-hitting shows out there.

 

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 2 August)

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THIS REVIEW HAS NOT BEEN SUBEDITED

Stiff & Kitsch: By All Accounts Two Normal Girls (C Royale: 14-28th Aug: 16.40: 60mins)

Posted in 5*, C Venues, Cabaret, Comedy, EdFestivals, EdFestivals 2017, Musical Theatre, Plus 3 2017 - Reviews by

“Two extremely talented comedians who deserve to be playing to full houses”

Editorial Rating: 5 Stars

There’s something to be said for taking a label someone gives you and owning it, turning it into a badge of honour. It takes guts and good humour. And that’s exactly what Rhiannon Neads and Sally O’Leary display by the bucketload in their latest outing as Stiff & Kitsch in By All Accounts Two Normal Girls – a show so named after a quote from my review of them last year.

The premise of the show is a discussion and self-help guide on how to achieve the level of “normality” the two girls have (according to, erm, me) by taking a comedic look at different aspects of their lives from jobs, to health, wealth and everything in between. Opening quip “things are about to get normal” sets the tone for a witty, honest and accessible hour of fun.

Each section is punctuated with a trademark musical number, which work really well to summarise and highlight their main comments, with choruses including repeated lines as blunt as “Keep your bullshit to yourself” (in reference to seemingly narcissistic social media use by their peers), and “I haven’t a fucking clue”, which we’ve all felt about one thing or another. What pleases most about this duo is their slick back and forth – in both the songs and general banter – the whole performance maintains a beautifully unrehearsed aura, like they’ve put it together especially for you in that moment.

The professionalism and confidence from Stiff and Kitsch have pleasingly stepped up a notch from last year – there is a bit more a swagger and presence within their performance, not un-aided by the life-size cardboard cut-outs of themselves that adorn the back of the stage. Yet with this growth as performers what they haven’t lost is their likeability: the sense that they are still one (or two) of us with the same flaws and insecurities as everyone else. What they do really well is to make each one into something to laugh about, and there are certainly plenty of laughs to be had in this show.

While my main criticism of their show last year is still largely accurate – the variety and creativity within the musical numbers is somewhat lacking – it is the only blemish on an otherwise polished and very funny show. I didn’t stop smiling once throughout the whole hour.

It’s not always easy to admit that you were wrong, but this time I’m glad to: Stiff & Kitsch aren’t two normal girls: they’re two extremely talented comedians who deserve to be playing to full houses. And if they call their next show that, I am retiring.

Star (blue)Star (blue)Star (blue)Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 19 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Louise Reay: Hard Mode (The Stand Four: 3-27 Aug: 17.55: 60mins)

Posted in 3*, Comedy, EdFestivals, EdFestivals 2017, Plus 3 2017 - Reviews, Stand-Up, The Stand, Theatre by

“A unique and insightful project perfect for Fringe audiences”

Editorial Rating: 3 Stars: Nae Bad

This is a very clever show. Through a healthy mixture of character work, pre-recorded videos, impressive knowledge of modern Chinese society, and truly human moments, Louise Reay has crafted a unique and insightful project perfect for Fringe audiences. Some fine tuning of the details and the flow of the show would be useful to make its 60 minutes shine brighter, but overall Hard Mode is a worthy offering.

The show’s title derives from the idea that in modern China, life is lived as if in ‘hard mode.’ Reay takes care to share a genuine taste of what that kind of life means, from tampering intrusively with audience members to stationing masked cronies around the room to watch and possibly punish the viewers at all times. She uses clever techniques like distributing identical napkins for all audience members to wear (to recall authoritarian homogeneity), and leading the room in hive-mind chants in between musings on what having a free society means now and what losing it could mean later. The masked guards do stay unsettlingly in character the whole time, even banishing non-compliant individuals who dare to remove the napkin to the ‘jail,’ which is the corner of the room. Though some of the points on surveillance are presented somewhat simplistically, the dark sense of forced enjoyment is done well. This show, to its credit given its subject matter, is effectively unpleasant.

Reay bases this societal reenactment on her lived experiences in China, thankfully. A few lines and jokes would seem like sweeping (and potentially offensive) generalisations if she hadn’t proven her extensive knowledge of Chinese culture, from the language to the media to the in-jokes. On the comedy end, the highlights of the show are her stagings of a possible future where the Chinese government has bought and hawkishly runs the BBC. Her David Attenborough-centered skits are hilarious, and her all-Chinese rendition of ‘Far-EastEnders’ is impressive for her sheer capability with the language, as a native English speaker.

On the dramatic side, and yes, there is a somewhat unexpected dramatic side, Reay mixes in her own real life in ways that teeter on the edge of too much. Without giving anything away, the sense of ‘hard mode’ in a societal sense is re-purposed in a personal sense, which at times is truly affecting, and at others feels like retreading and backtracking on points that have already been made.

Reay’s use of an actor to portray Chinese artist and social activist Ai Weiwei in a pre-recorded video conversation Reay apparently had with him feels strikingly off-kilter with the rest of the piece, and not only because it is never truly verified that Weiwei actually said any of the statements in the video. The actor’s timing is jarring, the delivery is confusing and flat, and points are muddled and indistinguishable — under what is admittedly fabulously intricate facial hair. For me, these filmed asides are revisited too often, and though most of Reay’s recurring jokes are quite funny and/or poignant (special nod to the unforgettable Loneliest Newsreader in the World), the Weiwei scenes feel poorly executed.

Overall, if you are looking for a bizarre yet poignant hour at the Fringe, and happen to be in the relatively far away lands that house the Stand Four, Louise Reay’s Hard Mode might be for you. Just be sure to set your expectations to Weird Mode.

nae bad_blue

Star (blue)Star (blue)Star (blue)

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Reviewer: Nathaniel Brimmer-Beller

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Dad’s Army Radio Hour (Pleasance Dome: 4-28 Aug: 2.40: 60 mins)

Posted in 4*, Comedy, Pleasance, Plus 3 2017 - Reviews, Rated: Outstanding, Theatre by

“Like a couple of thoroughbreds taking the jumps with ease”

Editorial Rating: 4 Stars

This joyful show teased smiles from even the flintiest faces in the Queendome audience. The theatrical concept of ‘watching a live radio recording’ is not one I will ever be a fan of, but here the simplicity of the staging is entirely justified. With words this good, and performances this sharp, little more is needed.

The public appetite for Dad’s Army is seemingly limitless. Like Only Fools and Horses, it is one of those rare TV programmes that people are willing to watch infinite times. This does not mean that a stage version of Dad’s Army is a guaranteed hit: in fact the stakes are raised to get it right and do justice to something held so dear in so many souls (consider the fate of the recent film version). But from the moment David Benson and Jack Lane speak, we know we’re in hugely talented hands. They cover the entire cast of dearly-loved characters effortlessly, like a couple of thoroughbreds taking the jumps with ease. More than ease: there is a grace and good-spiritedness about both performances which makes them a genuine pleasure to watch, and which reminds one of why we fell in love with the originals. There are many treasurable moments, but particularly striking is Benson’s bullseye John Le Mesurier, whilst Lane’s effortless switching from a repressed, frustrated Captain Mainwaring to a good-time floozy, with barely pause for breath, is a delight.

Four scripts are performed, two at each performance. When the production tours, it would be great to see this cast perform the episode Mum’s Army somewhere in the mix. It’s the one where Mainwaring falls in love with another woman, and comes within a razor’s width of leaving his eternally-unseen harridan of a wife. It was one of Dad’s Army‘s rare excursions into genuinely moving pathos, and in amongst all the laughs it would be the icing on an already sumptuous (upside down) cake.

outstanding

StarStarStarStar

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Reviewer: Mark Farrelly (Seen 5 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Ameé Smith – Relax, it’s not about you (Underbelly Med Quad: Aug 3 – 29: 15.00 : 1hr)

Posted in 4*, Comedy, EdFestivals 2016, Rated: Outstanding, Stand-Up, Theatre, Underbelly by

https://i0.wp.com/www.underbellyedinburgh.co.uk/images/uploads/15201-Ame_Smith_Relax_Its_Not_About_You.jpg

“Optimistic, off-the-wall and unapologetically human”

Editorial Rating: 4 Stars Outstanding

I try my best not to judge shows before they’re done. But, finding the queue as lonely as a tarantula’s birdcage, I confess to some trepidation as I waited for Ameé Smith’s “Relax, it’s not about you”. Shows with sub-dozen audiences can be tense at the best of times, and given the very personal nature of Smith’s themes, comedy’s need for reactivity and my own creeping paranoia about audience interaction, it seemed a bespoke recipe for awkwardness.

But, for once, it appears the mantra of the 2* performer rings true: the reviewer was dead wrong.

Who exactly “Relax, it’s not about you” is about could make for an excellent piece of theatre analysis – could be Smith’s ex’s, could be Smith herself; and, perhaps overarchingly, it could be about every person watching. Complete with examinations of toxic relationship types, explorations of what makes something TMI and confessions of Smith’s own foibles, “Relax, it’s not about you” is a frenetic, laugh-filled odyssey through the minefield that is interhuman relations.

Whilst it all might sound a bit metaphysical, it’s certainly entertaining. It’s somewhere between hearing stories from a drunk aunt and hanging out with an unlucky-in-love best friend: sometimes rambling ,sometimes short and sharp, and always cringingly self-aware. And whilst the occasional semantic meander leads to a dead-end, Smith seems to be an expert at winding back her own train of thought. And rest assured, despite the heavy premise, it’s a set with its fair share of laughs. You’ll never look at ceramic owls the same way again, and that’s a promise.

For such a blurry and ill-defined subject, it’s impressive how consistent the show feels for its duration. Smith’s nervy, almost fractious energy is a wonderful constant, even when presented with an audience of two. Never before have I seen a performer approach a nearly-empty house with such vigor. In truth, my greatest disappointment with this performance is that I never got to see how Smith would play off a full house. She is (fittingly and obviously) the greatest asset this show has, having cracked the comedian’s riddle of creating an obvious gulf of wit between her and the audience, whilst simultaneously closing it with an almost tactical show of real honesty and vulnerability.

This is perhaps the only time I’ve ever regretted that the jokey offer of a pint after the show was not capitalised upon, so enthralled I was with the sheer openness with which Smith presents herself. Even her dodgy guitar skills, though they open the show on a slightly jerky note, have their significance later. This is feel-good theatre, despite being based on one of the worst parts of romance.

This is a show which deserves far, far more than what I saw it receive. Ameé Smith has crafted a difficult and beautiful thing: a comedy show which thrives on universal truths, yet doesn’t claim to have any answers. And despite a few momentary stumbles, “Relax, it’s not about you” is exactly the kind of show that typifies the Edinburgh Fringe: optimistic, off-the-wall and unapologetically human. Ameé Smith isn’t making a show about you – but that doesn’t mean everyone shouldn’t see it.

outstanding

StarStarStarStar

Reviewer: Jacob Close (Seen 25 August)

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+3 Review: Price (still) Includes Biscuits. (the Space @Surgeons Hall. Until Aug. 27 18:15)

Posted in 4*, Cabaret, Comedy, Other, Rated: Outstanding, Stand-Up, Theatre by

“Paul’s deadpan delivery casts a spell over her audience.”

Editorial Rating: Stars: 4 Outstanding

When Naomi Paul comes out to the soundtrack of Sweet Dreams Are Made of This and plants herself stock still in the centre of the brightly-lit stage, one immediately gets the impression that this show is going to be different. So it proves to be. 

Paul reassures the audience that the price does indeed include biscuits but they come later. It is then straight in with her observations on living in modern Britain. Paul uses her home city of Birmingham to illustrate the ridiculousness of current government policy and the effects of prolonged spending cuts. Slowly her body starts to move and her stance becomes more natural as Paul starts her first piece of audience interaction. On a small side table, she displays her latest certificate: Radicalisation General Awareness Training. Do you need to take the test? Are you aware of the signs? Perhaps you are a radical already and need to be reported?

Moving on from modern multicultural Britain, Paul then reflects upon her own Jewish and Eastern European roots. Through the media of spoken word, song and a coat, Paul tells how her America-bound ancestors to ended up in the Welsh valleys. The story moves from the ancestral selling of haberdashery to the fitting of industrially-constructed bras. The best laid plans of her mother, attempting to preserve the virtue of the teenage Paul, didn’t exactly go as expected.

Through further songs and stories of poverty and the workhouse, we return to the present with a treatise upon the dangers of Thinking. Especially dangerous is being careless with the incriminating evidence of Thinking. Rubbish bags and computers should be treated with caution, as should the practice of speaking with strangers. With that due warning, it’s time for the audience Biscuit Break.

From biscuits and budding (if potentially subversive) audience relationships, Paul continues with the subject of modern social contact. For some, the most meaningful conversations are with the call-centre operator or a visiting Jehovah Witness. This sweeps into the area of mixed marriages, diversity and religion. Where is the best place to be Jewish at Christmas?

Price (still) Includes Biscuits goes beyond the normal boundaries of observation comedy and satire. Over the course of the hour, Paul’s deadpan delivery casts a spell over her audience, leading to an outcome which is different from any other show on the Fringe. Maybe she hasn’t got the best singing voice  but the show is funny, it works and, what’s more, it gets one thinking.

Thinking. Dangerous business that nowadays.

outstanding

StarStarStarStar

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Reviewer: Martin Veart (Seen 25 Aug)

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THIS REVIEW HAS NOT BEEN SUBEDITED