Category Archives: Comedy

+3 Review: The Glummer Twins (Paradise in The Vault: 22-28 Aug. 11.35am 1h.)

Posted in 3*, Comedy, Just Read The Poems!, Music, Other, Rated: Nae Bad, Spoken Word, Stand-Up by

“The guys are genuinely funny”

Editorial Rating: 3 Stars: Nae Bad

On a small, well-lit stage, deep in subterranean Edinburgh, The Glummer Twins start their set with Just Turned Sixty and Taking it Badly: a really good bemoaning of being the owner of an ageing body.  Through the medium of beat poetry and music, the Glummer Twins (David Harmer and Ray Globe) take a look back to 60’s childhood, 70’s aftershave and 80’s yuppies.  They ask the important question of whatever happen to the mods?  Autobiography is included, such as after moving from south London, the warm welcome David received from his new Doncaster school chums.

The Twins look forward to the future with the poems  Old Bloke Blues and Fiery Jack: the latter a must-hear for any pharmacist or person taking a large range of medications.  Groans and laughs are generated in equally generous measure as we follow the puntastic adventures of poet-noir detective Percy Shelly – private dick.  The poems comes thick and fast, with fifteen being delivered over the hour.

The theme of the show is ageing and reminiscing because there comes a time in life, theirs in particular, that there is a lot to look back on but not so much to look forward too.  The Glummer Twins state they have been coming to the Fringe for thirty one years and obviously love what they do.  The audience are in the safe hands of veterans.  Both were members of the performance group Circus of Poets, which in the 1980s appeared on nation television and toured Europe.

The style of comedy is, fair to say, gentle.  That does not mean unfunny: far from it.  While Percy Shelly is undoubtedly the comedic highlight, the spirit and black humour of South Yorkshire is also evoked.  Whatever will happen to Derek the Trainspotter?  One also has to ask, in the wake of the recent Brexit vote, whether there is deeper meaning to the poems Mediterranean Homesick Blues and Speak Scandi?

Harmer and Globe are good, solid performers who deliver rhymes and laughter.  Globe handles the musical side with electric guitar, pedal beat boxes and shares vocals, while Harmer’s performance is spoken word and costume change.  The show is squarely aimed at older generations.  They know that their style and material are not going to rock the foundations of comedy but that does not matter.  The guys are genuinely funny.  Watching The Glummer Twins is a fine way to wind up a morning on the Fringe.

P.S. – if one wants to know the origins of the name, Google “The Glummer Twins” and see what comes up.

nae bad_blue

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

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Reviewer: Martin Veart  (Seen 26 August)

Visit the Assembly Roxy Bedlam Church Hill Theatre Festival Theatre King’s Theatre Other Pleasance, Potterrow & Teviot Summerhall The Lyceum The Stand Traverse archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Penetrating Europe, or Migrants Have Talent (Paradise in Augustines: until 28th Aug: 21:35: 1hr)

Posted in 3*, Comedy, Musical Theatre, Other, Rated: Nae Bad, Theatre by

“Sandalovych doesn’t simply engage the audience, she immerses us in the tumultuous narrative.”

Editorial Rating: 3 Stars:  Nae Bad 

Our host (Dave Strudelbar) for this evening’s episode of Migrants Have Talent bounds down the stairs before introducing the evening’s two judges: immigration officer, Nigel Nobson (Uilleam Blacker) as well as glamorous former illegal immigrant, Nigella Smith (Lesya Liskevych).  Nigella explains that she was talent-spotted after five years of cleaning the toilets at Television Centre. She cleaned toilets under her original name, she minor celebs with a new one, changed by deed poll. Together Nigel and Nigella decide who stays and who is deported, with the audience voting in the event of a tie.

There are five contestants. Actor Iaroslav Tsigan’s character is from Ukraine. He traveled to Britain on false Polish papers. A likeable character, his honesty fails to impress the stern judges. Interwoven with the talent show format are the stories of two young people, who relate how it is to travel and cross borders. One is going east to Ukraine for an adventure; the other west, by land and sea, to join family already in Britain.

These paired stories, delivered solo with other cast members playing the role of various officials, are the most effective part of the production.  The contrasting experiences and expectations of the two young people are increasingly moving. Actor Ira Sandalovych compellingly portrays a descent into fear. Sandalovych doesn’t simply engage the audience, she immerses us in the tumultuous narrative.

Most of the large cast are employed in the Migrants Have Talent sections.  Writers Blacker and Olesha Khromeychuk deploy a tongue in cheek style of satire that seeks to lighten what are, in reality, stories of genuine human suffering. At no point are we allowed to forget that not a million miles away from the Fringe, real people are really living through such uncomic tragedies. Still, this is above all a theatre piece. How effective (as opposed to affecting) is it?

The message is crystal clear. Humanity is common: borders and suffering man made.

If there is a problem it’s is one of counterpoint. Does the satire sparkle bright enough against the darkness of the immigrants’ tales? The lighting is handed well and sound, with the ensemble song describing cranes flying away to die in foreign lands (a poem from 19th century Ukraine) is truly beautiful in such a small venue.  However, with such a large cast, the staging does slip into awkward moment but, overall, this is a more than likeable production whose heart is definitely in the right place.
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Star (blue)Star (blue)Star (blue)

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Reviewer: Martin Veart   (Seen 23 August)

Visit the Assembly Roxy Bedlam Church Hill Theatre Festival Theatre King’s Theatre Other Pleasance, Potterrow & Teviot Summerhall The Lyceum The Stand Traverse archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: The Free Association – Jacuzzi (Pleasance: 4-21 Aug: 23.00 : 1hr)

Posted in 4*, Comedy, EdFestivals, EdFestivals 2016, Pleasance, Potterrow & Teviot, Rated: Nae Bad by

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 “Wild, witty and wickedly funny”

Editorial Rating: 4 Stars Nae Bad

I always approach live improv shows with a degree of trepidation: though a lot of the fun lies in its often wild unpredictability, it’s easy for a forced joke or sudden case of comedian’s block to sour an entire set. However, from the moment the Free Association players arrived on stage, I felt as if the audience was in very safe hands.

Basing scenes from improvised monologues by “special guests”, it’s a streamlined one-two punch of comedy flavours. The changeover from stand-up style presentation to off-the-wall improv is smooth, sharp and very crisp, handily overcoming the transitional inertia that would threaten less cohesive groups. From start to finish, it’s this veneer of professionalism that really brings the Free Association together; very seldom is improv so akin to a well-oiled machine.

But far from it to say the comedy is mechanical: I’d almost recommend a helmet to protect against the ideas bouncing off the walls. From Blue Peter themed suicide pacts to rad skateboarding private-school bait-and-switches (it somehow made sense at the time), you’d be hard pressed to try and follow the cognitive bead of sense for more than ten minutes – and this show is all the better for it. Despite a few jokes which fell flat or dampened the usually excellent energy, when the material’s good, it’s hysterical.

This unpredictability was aided by the novel way in which the Free Association goes about its work. They tout themselves as being “based on the American style of long-form improv but with [their] own unique spin”, and the latter is pointedly true. Jacuzzi often blurs the line between short form and long form improv, with overarching plots and characters weaving in and out of the utter chaos on stage at breakneck pace.

For a more amateur company, this may have been a tall order, but the talent driving this show can’t be denied. Despite the extreme difficulty in discerning a favourite from such a strong cast,  Comedy MVP inevitably must go to Alison Thea-Skot: I’ve never seen such a wide comedic range – it’s a hard job to make an audience really believe they’re watching a heavily-scottish football coach who’s forcibly making their players fat to win games  – again, plenty of sense at the time – but I’ll be damned if I didn’t expect a true-life biopic about it to be in the works by the time the set ended.

The Free Association is certainly deserving of its acclaim. Wild, witty and wickedly funny, “Jacuzzi” is a classic example of improv comedy done right.

 

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

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Reviewer: Jacob Close (Seen 17 August)

Visit the  Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Guy Masterson: Love and Canine Integration (Assembly Roxy: until 28th Aug: 17.40: 1hr)

Posted in 4*, Assembly Roxy, Comedy, EdFestivals 2016, Spoken Word, Stand-Up by

“Masterson is a great gift to the stage”

Editorial Rating: 4 Stars

When Guy Masterson punched above his weight and married the beautiful Paris-based model Brigitta, he forgot the first rule of life: no person is an island. Brigitta’s personal little slice of Alcatraz comes in the form of her oh-so-cute German Spitz: Nelson. Never in the course of human history has one man fought so hard against one dog for the heart of a beautiful woman.

In this show, Masterston relates the autobiographical story of how first he met his (now) wife Brigitta and her “other man”, Nelson.  Only one of the matches here are made in heaven. Masterson uses the entirety of the small stage to reveal the darkest recesses of this epic battle of wills between man and dog. Plots are hatched. Fantasies are spun. Opportunities taken. It is a sign of character that Nelson is able to rise above these foolish webs laid at his feet by a mere human. Nelson is channelled through his rival, with Masterson performing every snarl, growl and sniff of contempt.  In suitable tones, he explains Nelson’s stratagems: exploring the options that could lead to victory over the new would-be Alpha male.

As an award-winning actor and story teller, Masterson is a great gift to the stage. Extensive experience of one-man shows means that the audience is in the hands of a consummate professional. That is, once the story gets going. I think the preamble, where he explains the genesis of the show, while “enjoying” a cold jacuzzi in a bargain four star spa retreat with his wife, does not work so well. Hearing Masterson relating Brigitta’s question “Why can’t you be more funny?” led me to think, at that time, she may have a point mate. Fortunately once the main course is delivered, it is no dog’s dinner. The story is taut: Masterson’s exasperation palpable as failure is piled upon defeat.

As to the overall effect though, I have to ask the question: is it funny enough?  The material is all there.  The delivery is flawless.  I think the basic issue is that Masterson is an honest man.  This is his first foray into standup and I suspect he has stuck too closely to the truth and, in doing so, has sacrificed some laughs for the sake of integrity.  A more experienced comic may well have hanged truth from the nearest lamppost and had the audience rolling in the aisles.

A certain truth is this: Masterson has a problem. He thinks it is all over but it isn’t. Guy Masterson is suffering from PTPS: post traumatic pet syndrome.

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

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Reviewer: Martin Veart (Seen 17th August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Mixed Doubles: Fundraiser (Just the Tonic @ The Caves: until 28th Aug: 17.25: 1hr)

Posted in 4*, Comedy, EdFestivals 2016 by

“A really enjoyable show, I’d thoroughly recommend it”

Editorial Rating: 4 Stars

Having seen Mixed Doubles trying out new material in London a couple of years ago, it’s pleasing to see them back in Edinburgh after a year off to present a new full length show. Fundraiser is set up as a village fete where four assorted characters from the village are trying to raise funds to replace the old pavilion, and this is their show. Yet while the framing of this piece is charming and shows intelligence and professionalism beyond a let’s-just-perform-some-sketches approach, at times it also works against them a little, as the changing in and out of these characters between different sketches does get a little confusing.

For me, Mixed Doubles’ trademark is all about the delivery. Timing is everything (they know how to work and audience and let a joke settle before moving on), while facial expressions from all four performers throughout are priceless. In this performance there were a couple of times when jokes fell a little flat, or weren’t quite delivered with the knock-out punch of confidence that they really needed, but given then fast pace and slickness of the show these are quickly forgotten, and the overarching impression is one of playfulness and enjoyment.

My favourite sketches include a parent who takes their child to see a doctor as they suffer from “the g-word” which has a hilarious twist, while the one where a young man introduces his friends to his bizarre flatmate is absurdly funny. Overall there’s a great blend of topical humour, creativeness and recurring characters to make it a really well thought-out and balanced show.

As well as being a traditional sketch show though, fundraiser incorporates a couple of improvised or more random elements. In one sketch two of the performers are challenged to instantly embody objects one might discover when showing someone around a house, and one audience member is pulled on stage to join a stag party… These touches add a nice variety to the piece and show that the group have more depth than simply being able to spout pre-learned lines.

On entering the venue, we’re also asked to come up with a new name for the village bowls club, writing suggestions on slips of paper which get added to the “hat”. While at least one of these is picked to be read aloud, it’s a shame more isn’t done with this device – perhaps a live debate between two or more of the suggestions that the characters debate on the spot would have really tested the group’s mettle.

Overall though, a really enjoyable show and I’d thoroughly recommend it.

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

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Reviewer: Steve Griffin (Seen 17 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Clare Plested – Flock Up (Ciao Roma: 6-27 Aug: 17.50: 1hr)

Posted in 4*, Comedy, EdFestivals 2016, Other by

“Squeezes the last dregs of pulpy laughter “

Editorial Rating: 4 Stars

As folk descend into the basement of the Ciao Roma Restaurant, Clare Plested wastes no time in working the audience, asking if they are up for being selected and happy with participation. Plested is an excellent warm-up and soon the entire audience are settled in with the expectation of a good show.

Plested does not disappoint: soon the first character of her creation is ripping into the audience like a barracuda through a shoal of baitfish. No one is safe: even after coming out of character she utters “Christ! I’ve just picked on the reviewer.” I was eviscerated with the rest but everybody, including me, was left laughing instead of floating belly-up.

The laughter is leavened with some pathos for the next persona: Kala Kale. It is clear that Plested is a fan of old television because there is little doubt that, physically at least, her model is Diana Moran, a.k.a The Green Goddess from breakfast TV of the 1980s. Character development for Kala is done perfectly and she culminates in a real belter of a gag. Less successful to my mind is Missy Marple. Perhaps her motivational drive is revealed a bit too soon, leaving the performance with less options. What openings there are left though, Plested really goes for them with good results.

Gaps between costume changes are filled in by videos of another of Plested creations: #KellyZee, the girl addicted to hashtags and stick-it notes. Some gags work, others not so much. We are going to need a bigger Twitter.

For the finale, Plested combines all the elements that go before and adds a thick layer of social satire with excellent effect. The laughter was loud and the applause, long.

Clare Plested is both funny and genuinely witty, which allows her to interact fully with audiences, whether in or out of character. She is also energetic and physically brave performer who squeezes the last dregs of pulpy laughter from people.

If you enjoy banter, interaction (or love seeing it happen to others) plus comedic character creation, invest an hour at Ciao Roma. Please feed the artists on the way out. Oh, and Clare: hope the rash clears up soon.

If you want to know what that means, see the show.

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

Reviewer:  Martin Veart (Seen 16 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Moscow Boys (Zoo Southside: 5-29 Aug: 20.35: 1hr 10mins)

Posted in 4*, Comedy, Dance, EdFestivals 2016, Music, Rated: Outstanding, ZOO by

“Funny, impressive and unlike anything I’ve ever seen before”

Editorial Rating: 4 Stars: Outstanding

My early front-runner for most bonkers show of the year is this one: an all-male tap-dancing string quartet from Russia with a penchant for wearing funky hats. Oh, and that’s before they change into rollerblades and charge around the stage while still playing their instruments. You have to see it to believe it.

I’m no classical music aficionado (though I did have a rather painful year learning to play the violin at the age of 7), but to me the musicianship was spot on. I paid very close attention to check whether the boys were actually playing the instruments (just to be sure), and can confirm that yes, it’s all live, and all note-perfect.

This is far from being your average string quartet concert: right from the off it is set up as a comedy piece too, as the boys begin to play around as soon as their maestro has left the stage. It starts small – standing up, sitting, down and swapping seats – but before you know it they’ve burst into a full-blown tap routine (while still playing), without any effect on the quality of the sound. And that’s just the beginning of the madness.

Musically we get everything from Tchaikovsky to Timberlake, and on the whole it just flows seamlessly together as if originally written that way. There’s not a sheet of music or music stand in sight, so extra kudos to the quartet for merging so many pieces of music together and learning it all so well they can perform it while dancing – this really is impressive stuff.

This is very close to being a five star show, it is just a little disappointing that the troupe seem to pull out all of their best tricks in the first half of the performance, so the second half is spent wondering what will happen next, given that most of their cards are already on the table. Later on they also rely on recorded sound to support their playing, when the wow-factor in the first half comes from just the four performers and their instruments.

It’s funny, impressive and unlike anything I’ve ever seen before. I would definitely recommend it for those looking for something a little different this Fringe.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 14 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+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

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“The definition of five-star comedy”

Editorial Rating: 5 Stars: Outstanding

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.

 

outstanding

StarStarStarStarStar

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Reviewer: Jacob Close (Seen 13 Aug)

Visit the  Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+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

https://laughoutlondon.files.wordpress.com/2016/08/rory-okeeffe.jpg?w=750

 “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.

 

outstanding

StarStarStarStar

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Reviewer: Jacob Close (Seen 14 Aug)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+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

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“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.

 

nae bad_blue

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

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Reviewer: Jacob Close (Seen 12 Aug)

Visit the  Other archive.

THIS REVIEW HAS NOT BEEN SUBEDITED