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Tim Key – Masterslut

Lee McRonald — Wed, 24 Aug 2011 09:29:43 +0000

Following previous award-winning shows, Tim Key returns with a curious, hit and miss blend of poetry, music, film-clips, stand-up and audience interaction.
The hour is structured around a dozen or so elliptical poems, haiku-like snippets of deadpan oddness and absurdity which have some of the audience laughing like drains, others simply bemused. Is this poetry satire? Or self-indulgence? It’s hard to tell and we have to wonder if the joke’s on us, with Key – resident poet on Charlie Brooker’s Newswipe – often unable to keep a knowing smile off his face, regardless of whether the audience is laughing or not.
The poems themselves are written on the back of soft-porn playing cards. Why? Well, why not. It’s something Key says a lot during his show, and it’s perhaps telling about his absurdist approach. Not to suggest it’s thrown-together; on the contrary, it’s an intelligently written and well orchestrated show, even down to the audience interaction (an on-screen slide identifies where Key will run through the audience, ruffling hair and hugging).
Keys is an aloof yet appealing presence but not all of it works. An audience word-game falls flat, and even Key admits the resulting narrative isn’t a classic. There’s also a bath, which Keys intermittently dunks his head into. Cue previously, beautifully shot and comic images of Key underwater. It is fun – especially his interaction with the audience member charged with drying him off – but after the second or third immersion it seems a bit gimmicky.
Overall, it kind of works and you have to admire the experience, the atmosphere Key has tried to create (the whole thing is scored by an eccentric selection of tracks, anything from classical and what sounds like Russian folk to elevator-style noodlings). There’s something curiously self-satisfied and self-consciously avant-garde about it all, which perhaps explains the hot and cold audience response, but fans of literate, absurdist comedy will find much to enjoy.

3/5

The Big Bite Size Breakfast

Martin Miller — Mon, 22 Aug 2011 10:04:03 +0000

For those a little bleary eyed from making the most of Edinburgh’s party scene, this is a welcome treat that, despite its 10:30am start, should set you up nicely for another day. To help soak up the alcohol, you are given a complimentary breakfast of fresh coffee, a croissant and some strawberries, which is a lovely touch. But the real treat is the five short mini-plays on show.
Depending on the day, there are three ‘menus’ being performed, with each comprising five different plays. The mini-plays in menu number three, despite having different writers, flow together surprisingly well.
Bridgette Burton’s opening story, Bad Bride, about an over-anxious bride-to-be, is both warm and funny. C J Johnson’s The Bar is a delight and contains some genuine surprises as a out-of-shape woman and her personal trainer get violent over a chocolate bar. And Jane Miller’s finale is a funny, sweet tale about a young woman on her deathbed confessing to all the little lies during her marriage.
Each segment makes the most of its lean running time and succeeds in making an impact, with only Chris White’s Thespian, about a ‘New Yawk’ builder auditioning for a part as an actor, lacking this effect. Worth the entrance fee alone is Thin Air, written by Thoman Coash. It is so simple yet utterly effective. It depicts a lone trapeze describing the events that have led to a critical point in her life, and is funny, dramatic and builds up to something quite special indeed.
Combined as one, these plays make for a fantastic hour of entertainment: well acted, well-written and full of crowd-pleasing moments. Seek this out and you’ll find a vibrant slice of theatre that, like the croissant, you can really sink your teeth into.

4/5

Joel Dommett: Neon Hero

Martin Miller — Thu, 18 Aug 2011 08:50:55 +0000

Gaining great reviews from last years double act with comedic partner, Eric Lampaert, Joel Dommett has decided to perform solo this year. But that’s not a bad thing if you can get past the ear-bleeding volume of his microphone (hampered further by the fact that Dommett is so loud, shouting most of his punch lines, that his voice could have easily filled the room without any electronic aid). There is, in fact, much to admire in this warm, sweet and funny little true life account.
Dommett at a television interview fell head over heels for a mystery, top-end celebrity who seemed to be interested back and invited him to Vegas to party with her friends. He decided to go for it and the story follows the triumphs and many disasters of just what happened as he spends a week in the world of the rich and famous.
Watching him perform is a real pleasure as he delivers a strong, enticing hour of stand up. His self-deprecating humour to the whole situation is a joy to watch as he shares embarrassing, nervous conversations, failed birthday gifts and an unusual new tattoo.
His comedic delivery is well timed with some great funny lines but it is the story that really engages, made all the more enticing by the fact her record label has banned any mention of her name in Dommett’s show, so you find some further enjoyment in scanning the clues.
Funny as as opposed to any real belly-laughs it’s not the best of stories but mixed with his intelligent, insights about himself it is rather touching and very watchable.
Smart, sweet and honest, Dommett manages to turn a fairly mundane tale of inevitable disappointment into something quite epic.

4/5

Thom Tuck Goes Straight to DVD

Zander Bruce — Wed, 17 Aug 2011 12:30:28 +0000

For all things, no matter how obscure or commonplace, there are collectors, aficionados and the dangerously obsessive. Thom Tuck is all of these when it comes to Disney Straight-to-DVD (or STD) films. With an encyclopaedic knowledge of all 54 (animated, non-CGI, non-live action) Disney never-to-be classics, Tuck leads us through a twisting and dizzying exploration of the audio-visual Ritalin genre.
From Alladdin 2: The Return of Jafar (the one without Robin Williams) to Lion King 1 1/2, Tuck polishes off the (rare) diamonds in the very rough bargain bins of barely-written animated non-starters. Interspersed with these are cautionary tales of awkward and uncomfortable romantic liaisons from his own life, which seem to be at sharp juxtaposition with the saccharin-sweet Disney brand, almost as much as the figure of Thom Tuck himself, with constant drinking throughout and the occasional angry rant.
It is possible to spend the first half of this show feeling as if you’ve missed out on the subject matter and aren’t really getting the joke – by the end the temptation is strong to go and raid the DVD shelves of friends who have kids
Thom Tuck (“not a stage name”) is one-third of the renowned Penny Dreadfuls, whose sell-out previous Edinburgh shows could be hard acts to follow when solo. Still, because of or despite some plot, he manages to captivate his audience and draw them into his world. Much like Disney itself does.

4/5

Waterproof

Anna Price — Tue, 09 Aug 2011 09:00:16 +0000

“His eyes were like two motorway fatalities; you couldn’t take your eyes off them” As Laura describes the man of her dreams to her goldfish, the audience listen intently and is drawn into their world.
Laura (played by Eva Sampson) is a dreamy romantic who works in “AquaTown”, Luton’s only aquarium. As she settles her goldfish – Toby – into his new home she tells him of the demise of the aquarium and of the mysterious stranger who visited each week. This one-woman (and one goldfish) show is a gently-paced storytelling piece. Sampson is a versatile performer and effortlessly takes the audience from comedy, as she describes meeting her love while cleaning up toddler sick, to sadness as we hear of painful childhood memories. Her gestures and expressions perfectly convey the rush of infatuation and the butterflies in the stomach moments of speaking to a crush, and the character’s optimism counteracts tales which – in other hands – could be depressing.
The concept is clever, using basic props to show how Laura’s imagination creates romance in everything around her. Boxes are built up to create a partner and miniature stage sets appear from walls. These have a charmingly home-made appearance but this does not quite match up to the polished story telling. The moments which stand out are those where Sampson does not rely on props but lets her own talent shine.
For anyone who enjoys storytelling, Waterproof will provide a pleasant escape from rainy Edinburgh afternoons.

4/5

Addicted To Danger

Lee McRonald — Sat, 28 Aug 2010 12:00:34 +0000

If you like off-the-wall humour then the comedy duo of Steve McNeil and Sam Pamphilon is for you.
Addicted to Danger is a sketch-based show, with brief fades to black and a blast of upbeat music efficiently separating the various skits. It’s like watching a TV sketch show on the stage but in McNeil and Pamphilon’s hands this is no bad thing: they’re a strong pairing with great comic timing and a natural chemistry that works to good effect.
As with all sketch shows, there’s a mix of hits and misses, but enough of the former to ensure that there’s something here for everyone, though probably more for those appreciative of topical, slightly surreal deadpan.
Winning sketches include a perverse take on the Antiques Roadshow; a slightly shocking but very funny skit called Cheeky Jesus; and an entertaining dissection of comedy songs – performed, of course, as a song. They’re a talented pair and so likeable that even potentially darker material – an Al Queda recruitment sketch and a brief flirtation with what constitutes a racist accent, for instance – comes across as light-hearted, harmless parody.
2008 Funny Women finalist Rachel Ann Stubbings joins them from time to time, casually wandering on from backstage. Her presence and almost grumpily deadpan contribution to the material feels a bit incongruous at first, but as the show goes on we warm to her, so that by the time the ‘threesome’ sketch comes round, she’s a welcome addition.
Odd, random and surreal, but entertaining enough to look forward to more next year.

3/5

Jump

Adrian G. Velazquez — Fri, 27 Aug 2010 09:55:54 +0000

A boy is sitting on a ledge – is he going to jump? And if so, why? A tabloid journalist wants to know all the important questions before Danny goes for it and takes the plunge.
With a minimal, but inventive and versatile set, Jump the musical deals with the usual issues: love, lost, family… and though it seems to try and say new things about them, it doesn’t manage to say much at all.
Through a series of flashbacks, we get to meet Danny’s close family, and how each one of them tries to drive him towards a life he might not have wanted to start with. Though the characters are charming enough, they are more caricatures than actual living and breathing beings, and as such the audience is never really drawn into their world.
In saying that, Jump is more interested in amusing and entertaining, and the whole show is played out for laughs. The musical numbers don’t really help much, with some tunes existing for the sole purpose of bringing in more laughs (like the curry song) rather than moving the story forwards. The rest of them, meanwhile – some duets and solo acts – are just not strong enough to be memorable.
The cast does give its best, though, and they don’t disappoint, but it is ultimately down to a forgettable storyline that this production fails to truly soar above the rest.

3/5

Andrew Bird: The Unlikely Lad

Adrian G. Velazquez — Fri, 27 Aug 2010 07:30:27 +0000

Andrew Bird doesn’t care anymore if he is liked or not. He has spent all his life trying to be accepted by all, mainly since he feels he has nothing to give, being your average white, straight male Brit. The thing is, Bird doesn’t fit under that category. He doesn’t see the fun in watching a woman parking a car (since he himself acknowledges that he can’t park either), and he actually enjoys ironing. Throughout the whole hour, Bird humorously highlights those traits that defy the lad label, but it’s one he struggles to shake thanks to ‘a face that looks like it reads Nuts magazine’.
If this all seems to lack originality on paper (and let’s be honest, his flier doesn’t do him justice either), the truth is that Bird is extremely funny. He is hilarious in fact, carrying the whole show without any tumbleweed moments, the audience laughing at his every word or gesture.
His honesty is a breath of fresh air after the troops of male comedians who over-exaggerate stories in search of punchlines, or think comedy is insulting the audience and swearing every two seconds. Bird doesn’t need any of those gimmicks because he is a natural comedian. He is also very good with the audience, effortlessly charming and engaging.
Even when his material fades a little towards the end, he still manages to keep us on side by poking fun at his marriage and own clumsy attempts – despite everything – to be liked. Highlights include what happens when his wife sneezes while he’s inside her; failed attempts to impress the in-laws (not related to the previous gag); and hilarious attempts to atone for a joke involving a swastika.
Bird shouldn’t worry about being liked. It is obvious that he is loved by his audience.

4/5

Pete Firman: Jokes and Tricks

Adeline Amar — Mon, 23 Aug 2010 08:00:49 +0000

Firman’s show may be advertised as a mere magic show, but he manages the difficult task of allying that with comedy. The combination can actually be vaguely confusing at times, for the audience sometimes is not entirely sure whether they should focus their attention on the jokes or the tricks – which are both excellent.
Asking various spectators from the front rows to participate in his tricks, he never makes fun of them and instead chats with good humour and warmth. Perhaps the first magician not to take himself seriously, Firman tries tricks after tricks and manages to trick (ha ha) the audience into never being sure whether they are supposed to work or are simple illusions. But when they do, the result is so baffling it can delay the amazed applause for a couple of seconds. From making a cupcake inside a spectator’s shoe to making another person’s £10 note disappear in flames, only to find it in a different location later on (no more details to avoid spoilers) – each trick is more amazing than the next.
Firman is incredibly comfortable on stage and delivers pun after pun, that are so ridiculous they become hilarious. The show isn’t one for kids though, as innuendos are everywhere, much to the delight of his audience. Unfortunately, the early scheduling means some excellent jokes are sometimes a bit lost on the very proper and sober spectators. Despite this, Firman easily wins the title of being everyone’s favourite magician since Arrested Development’s Gob Bluth.

4/5

Best of Popcorn Comedy

Martin Miller — Sat, 21 Aug 2010 11:29:20 +0000

It is no secret the Edinburgh Fringe can be a frantic experience as people tear along the High Street doing their utmost to avoid eye contact with performers desperate for them to take their flyers. But hidden away in the Pleasance Dome at half-eleven at night is a nice respite from all the chaos. Best of Popcorn Comedy has a simple premise, each night it brings a host of weird, wonderful and very funny short films to the crowds, mixing it with comedy performers who drop in and perform short segments. Each night the show will be different and each night new performers will come in.
In tonight’s case Idiots of Ants serenade an unsuspecting audience member with some beautiful guitar playing mixed with some filthy lyrics. Later, when it’s Jarred Christmas’ turn to take to the stage, he encourages audience members to shout out their favourite movie titles, and on the spot tells funny and entertaining facts about them. Witty and surprisingly sharp for this time of night he has the audience laughing along.
Though the stars of the show are really the videos. They range wildly in styles and quality but are thoroughly entertaining: a hitch-hiker and a driver both plot to murder one another; an animated astronaut trips up and begins to bounce against stars; or a classic satirical, social commentary from the minds of The Onion about Sony and how they, ‘release more pointless, confusing crap that you don’t really need but you must, must have.’
There are countless films squeezed into the hour long show and it makes for a highly entertaining if hardly astounding night of fun.

3/5