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Tom Toal – on the Scrapheap

Libby Pollock — Tue, 24 Aug 2010 13:15:49 +0000

Tom Toal promises a performance of heartbreak, loss … and then some triumph, and he is true to his word.
Experiencing the world as a singleton for the first time in his adult life, following a break up with his childhood sweetheart, Tom gives the audience an honest reflection on finding himself on the ‘scrapheap’.
Thus follows an emotional rollercoaster of a show as Tom rebuilds his life onstage through the means of a karaoke machine, song lyrics and tales of lads holidays, blind dates and love letters to beautiful celebrities.
His self-depreciative humour makes Tom Toal an endearing chap to watch and keeps the audience captive in his tales for the duration of his performance… even though at points his awkward comedic fashion can stumble more to the side of awkward than of comedy.
Despite this, Tom Toal delivers a promising performance which will hit home with anyone who gone through a break up and come out the other side a few bad karaoke songs and disastrous dates later. The grand finale-style ending is a real highlight of the performance and Toal’s ease of interacting with the audience is a true talent.
A promising debut performance at the Edinburgh Fringe Festival, and no doubt a talent we will see more of in the future.

4/5

Pappy’s: All Business

Libby Pollock — Tue, 17 Aug 2010 17:30:08 +0000

There is a certain urgency in this year’s Pappy’s offering: the high energy comedy troupe have lost their Fun Club suffix and are now the brink of financial ruin. Cue an hour of high jinx and larking about while the boys find a financial backer for their business.
Fans of previous shows will initially note the absence of the fourth Pappy, but the new three piece formation of Ben, Tom and Matthew does not disappoint. Renowned for their enthusiasm and hilarious escapades, the fact that the boys are missing a member means the other three simply step it up a gear.
Looking for a show which guarantees laughs from start to finish, Pappy’s All Business is the one for you. The jokes, costumes, scenery and songs are simultaneously imaginative and clever yet incredibly simple – and this makes the magic of Pappy’s.
Be prepared for an outrageous and fantastic journey, cramming in a wild mixture of fun from a rapping petrol pump to a singing dog, as well as a perform-off between Pappy’s and femme fatale comediennes La Papoise.
It is often hard to tell which parts of the show are scripted and which parts are just three friends having a laugh, but this approach makes them all the more charming. Without a doubt, the funniest sketch show on the Fringe for the third year running.

5/5

Russell Kane: Human Dressage

Libby Pollock — Thu, 20 Aug 2009 07:30:00 +0000

‘Human Dressage’ investigates the sociological make up of people, brought to you by the charming and compulsive Russell Kane.
Kane bounds onto the stage with such high levels of energy and enthusiasm that he almost can’t get his words out in his excitement and thirst for meeting the audience. He manically stares out to the sold out room, drinking in the characters and their quirks on which to draw his opening lines.
It is clear that Kane is a well educated young man. The show is based on his observations of human ritual, which he obviously has a clear fascination for. His observations are amusing, true and well researched. It is refreshing to see a comedian who has the whole package: funny, charismatic and extremely intelligent. He surprises the audience by including impressive scientific explanations and the odd literary character.
His show is quick paced, as Kane skips, bends and pirouettes across the stage as one wild anecdote spills after another. He takes the audience on a journey of his life experiences so far: from living with his gran to his relationship with his father, his university research to his thoughts on politics and culture.
But this is no arrogant man – Kane is hyper and surprising. His thoughts spew out of him in a non-coherent way but this makes him even more likeable – a more approachable version of Russell Brand.
Arriving on stage with an imagination full to the brim, you don’t know where his thoughts will take him next, but wherever it is, the audience are sure to follow his highly inventive and entertaining trail.

4/5

Paul Merton’s Impro Chums

Libby Pollock — Mon, 17 Aug 2009 11:25:39 +0000

Before Paul Merton’s Impro Chums begins the audience is asked to write down a suggestion for an improvisational sketch for possible inclusion in the show. And there lies the basis for what is to come. Through a mixture of improvisation games and audience suggestions, Paul Merton’s Impro Chums take the audience on a roller-coaster ride, with not even the actors knowing where each sketch will take them.
The cast of Paul Merton, Lee Simpson, Richard Vranch, Suki Webster and Mike McShane act spontaneously through a series of fast paced, high energy and quick witted sketches. In the style of ‘Who’s Line is it Anyway’, the audience shout out objects, emotions, locations, film and drama genres and situations, and the actors promptly react with ease, wit and imagination. The resulting sketches cover a variety of jokes, accents, songs and local jibes, ensuring the whole audience has something to laugh at.
Occasionally the group get lost along the way as the plot gets dragged out longer than remains funny and some jokes are tediously reused across several sketches. However these flaws are forgiven in admiration for the actor’s remarkable abilities for quick thinking and fast reactions.
Paul Merton’s Impro Chums play a familiar format and lack fresh or new content, but they do guarantee an entertaining, imaginative and talented display of quick wit and clever acting.

3/5

Brendon Burns: Fuck You I’m Fucking Brendom Burns Part IV

Libby Pollock — Mon, 25 Aug 2008 20:16:39 +0000

After enjoying one of his fellow antipodean and equally close to the bone comics, I was advised by various friends, flyers and general festival goers to go and see Brendon Burns. I then realised that this was the guy that won last years if.comedy award, the guy I was disappointed to miss last time round. I don’t think he used last years material again this year.
Burns took a while to get into any sort of rhythm, partly due to an audience member who was overly enthusiastic/inebriated. Burns dealt with this promptly and professionally, although a number of people who saw last years show were left wondering if this was staged or genuine. Without any real focus to the show Burns manages to deliver a handful of gags although its not too original to poke fun at Barrymore and Princess Diana. However, I’ve never seen anyone hold a vendetta against the Quebecois and this was definitely the high point for me.
By the end of the show I couldn’t help but think this show was directed at his cult following and that he felt he didn’t need to try as hard this year as he won the festival’s highest accolade last year. Unlike some, I didn’t find Burns overly loud mouthed and offensive. I’d give him another chance and hopefully he’ll try next time.

2/5

Nina Conti: Evolution

Libby Pollock — Thu, 21 Aug 2008 10:00:21 +0000

Nina Conti is a very talented ventriloquist, of that there is no doubt – seamlessly slipping between her cast of puppets and herself. And this is a brave task considering her co-star, Monkey, is a bit of a ‘handful’ to say the least. Even braver stunts are made as Conti juggles her cast of puppets two at a time, while being hypnotised and held prisoner in her own show!
Monkey is trapped in Nina’s imagination and is trying to alert Nina to the fact that a) she is repressed and needs psychiatric help and b) that he wants another comedy partner. And so the story of Evolution is told – the evolution of the relationship between Nina and her imaginary, foul mouthed puppet friend.
Although a puppet show at heart, this is not a child-friendly one; the language is choice to put it politely! Crudely funny – Monkey holds nothing back – Conti has a true gift for ventriloquism (even if Monkey and, in a guest appearance, her dad, disagree.) This is an entertaining and well played act and it is hard to believe that it is fuelled by just one energetic and funny woman.

3/5

Pappy’s Fun Club: Funergy

Libby Pollock — Mon, 18 Aug 2008 19:58:08 +0000

Having seen Pappy’s Fun Club perform at a ‘Best of the Festival’ show earlier this month, booking tickets for their solo Funergy performance was definitely on the cards. We made the right decision, these guys are definitely unmissable.
Faced with the threat of Pappy’s Fun Club being shut down by their elusive sponsor, Matthew, Ben, Tom and Brendan spring into action in a hilarious and imaginative adventure to save money by becoming more environmentally friendly. Through a variety of inter-twining sketches, the Fun Club cover a range of side splitting, often ridiculous situations, from fights between the internet and an owl to ageing stunt men, from an attack of an adopted blue whale to Shakespearean tomfoolery.
If you want a guaranteed laugh for an hour, book tickets now. Pappy’s Fun Club doesn’t follow the often over-used, clichéd patterns of many comedians. Their contagious on stage fits of giggles, their huge imaginations and the occasional amusing cock up (which apparently tonight was more often than usual!) add to the merriment and wholesome humour of the show.
Consistently funny, Pappy’s Fun Club’s banter brings tears of uncontrollable laughter. Without a doubt one of the funniest acts we’ve seen this year.

5/5

Somewhere Over The Westway

Libby Pollock — Tue, 12 Aug 2008 11:27:58 +0000

Thanks to the Portobello Panto, those who miss the magical pantomime out with the festive months can now witness the magic at the Edinburgh Festival! As a pantomime fan I was not disappointed. Oh no I wasn’t!
‘Somewhere Over the Westway’ is a modern version of the ‘Wizard of Oz’. Hip, streetwise and bling. Sticking closely to traditional rules, old favourites are presented in an urban setting. We follow D, the pregnant, tracksuit-wearing heroine; Dave the Rave, who is in search for a new brain after too much partying in the 1990s; the heartless yet ‘well-iced’ Blingy, and Leo, the wannabe Jamaican in the search for courage (and weed).
This show is imaginative and well thought out. Any show which can combine the Sex Pistols, Madness and Peter Andre deserves applause! The horny Wicked Witch of the West uses a cat suit and hilarious Kate Bush moves to entice objects of her affection, while lost characters of other pantomimes wander in and out of the eclectic mix of songs, jokes and punk fairy godmothers.
Despite poor audience participation, the cast are enthusiastic and energetic. Not so sure about the choice of Pototo (no prizes for guessing his more traditional counterpart), but this is the beauty of the show – a mixed bag of random fun, something for everyone to laugh at.
Although a panto, be warned, it is not exactly child-friendly – undertones of narcotics, alcohol and illicit lyrics lace the script. But then again, it is set in Da Street – or the yellow brick road to be more precise!

3/5

Jason Manford

Libby Pollock — Sat, 25 Aug 2007 22:55:27 +0000

When you go to see a stand up comedy show, it does not bode well when you are directed upon arrival to “fill up the front row”. But the audience should be pleased to find out that Jason Manford is a nice comedian. No horrid jibes, no cringe-worthy comments, just good, clever observational comedy. His wit is fun and good humoured rather than cruel and embarrassing.

Jason Manford, in broad Manchurian tones, takes to the stage from his “Green Room”, which he informs is nothing more than a black curtain that he has to hide behind for 15 minutes. This, combined with the fact that he has brought a packet of tissues on stage for his cold, adds to his “boy next door” appeal. From his jokes, stories and audience banter you would be forgiven for thinking you are in the pub rather than in a barn turned theatre that is the Pleasance Courtyard Two. He provide us with a good mix of material from football to crime, driving tests to the lottery, and anyone who can cover “The Flight of the Navigator”, Stickle Bricks and dead legs in his show deserves a second look!

The best way to sum up Jason Manford would be as Peter Kay’s (slighty slimmer) younger brother, with the same promise shown prior to Kay’s “Pheonix Nights”. Perhaps lacking in any more challenging material, he keeps largely on the safe side, yet this technique doesn’t disappoint and in fact guarantees laughs from across the festival going spectrum.

4/5