Henry Paker: Cabin Fever - As Henry Paker finds his comic voice there is an elephant in the room that needs addressing. Watching him, you may notice his stance of occasionally leaning backwards with one leg well in front of him, or the way he glides across the small stage, how he draws us into his surreal imagination and even delivers a few gags in French. Fortunately there is a seriousness to Paker that separates his style from that of the iconic Eddie Izzard. But that doesn't mean Paker isn't slightly mad.
In a small tin hut, Paker has aptly themed his show around Cabin Fever, stuck up Kilimanjaro for three months waiting to be rescued. Before we venture up the mountain, Paker opens strongly by sharing his bizarre issues with certain keys on the keyboard. A strange choice to start with, but smartly put-together and physically well acted.
Paker is an appealing and instantly likeable performer, such that his crowd may have felt overly comfortable with him and happily joined in (not really heckling). He managed to deal with these situations very well, in his own words ‘he created an effortless ease with the audience by telling them what to do’. Later he cut someone off in an endearing way by describing how he is going to cannibalise them, yet it manages to come across kindly as it gives him back control. Once or twice Paker seems to get lost in a conversation with himself, but these are the occupational hazards of his chosen style.
On his main theme, Paker creates an engaging and interesting show, with an intensity that meshes well with his slight surrealism. Some of the other ideas he uses have been covered before, such as The Game's trick of paying compliments that are slightly insulting (‘I love one of your eyes’). Paker brings a suave and creative twist to the material, much like his big finale which is well crafted and enjoyable, however fans of Red Dwarf will quickly see where the idea is going and it may lose some of its punch.
Despite familiarities with parts of his set, Paker comes across as creative act. In addition to his unusual imagination he's able to have fun with linguistics, which works well with the audience he has attracted. There is a sensibleness to his madness and coupled with a very enjoyable delivery it's clear that Paker has qualities that can take him far.
7/10 for an entertaining hour but with slightly familiar material - although the Eddie Izzard-esque style is not a negative!
16 August 2011
15 August 2011
Armageddapocalypse - The Explosioning
Armageddapocalypse: The Explosioning - James Bond, Jason Bourne and Jack Bauer have two things in common: their initials and the fact their flaws have been combined to create the lead in the ‘Hollywood on a shoestring’ comic play, Armageddapocalyspe.
After a bold video title sequence we open to a scene introducing our ‘hero’ Jack Lang as the most renegade agent in the world, trying to stop the bad guys regardless of the consequences. Despite the smallish stage the cast make excellent use of the space and give us a flavour of what to expect for the next hour: some action sequences, silly jokes and asute parody, all with an overriding sense of fun. Then comes the twist; this is actually the screening of the Special-Edition Extended-DVD Blu-Ray Director's Cut version of the film, with the action switching between the stage and the side-stage director’s coke-fuelled commentary.
The story itself needs minimal explaining, or spoiling – bad guy tries to blow up the world, good guy tries to stop him – all inside an hour of fun, laughter, cheesy lines and subtle references. The humour comes from just about all areas of the production: over-the-top performances, prop choices, plot decisions and subverting audiences expectations. A lot of direct gags are from the absurd nature of action films, although the smart writing has added a realistic element to the silliness that pays off so well. Some lines delivered as throw-away after-thoughts are funny enough by themselves to make the cut in other shows.
James Moran and Lucien Young, as hero Jack Lang and villain Dr. Apocalypse respectively, work very well together, both as the lead roles and creators of a perfectly balanced script. They are well-complemented by Tamara Astor as Jennica Wildfire, Lang's apparent love interest, along with Joe Bannister as Falcon, head of the intelligence agency who tries to get Lang to play by the rules, and Johan Munir as director Zach Jack. There is a reasonably long list of supporting characters played by these three, including my personal favourite Dena, the plain computer technician who Lang always calls when he goes rogue. None of the characters are superfluous and all add at least humour to the already highly enjoyable show.
Not since Dutch Elm Conservatoire graced the Fringe has a comic play managed to capture both smartness and silliness at the same time. The audience were thoroughly entertained and can be heard raving about the show before they'd left the building. Don't wait for the DVD version, see this show for yourself.
8/10 for a great comic play, something I picked out based on a poster in Cappadocia one evening and as it wasn't earmarked for review went to see it for Chortle. Steve was keen to expand to see things other than well-known names and I bet the team behind it are thrilled with the final copy!
After a bold video title sequence we open to a scene introducing our ‘hero’ Jack Lang as the most renegade agent in the world, trying to stop the bad guys regardless of the consequences. Despite the smallish stage the cast make excellent use of the space and give us a flavour of what to expect for the next hour: some action sequences, silly jokes and asute parody, all with an overriding sense of fun. Then comes the twist; this is actually the screening of the Special-Edition Extended-DVD Blu-Ray Director's Cut version of the film, with the action switching between the stage and the side-stage director’s coke-fuelled commentary.
The story itself needs minimal explaining, or spoiling – bad guy tries to blow up the world, good guy tries to stop him – all inside an hour of fun, laughter, cheesy lines and subtle references. The humour comes from just about all areas of the production: over-the-top performances, prop choices, plot decisions and subverting audiences expectations. A lot of direct gags are from the absurd nature of action films, although the smart writing has added a realistic element to the silliness that pays off so well. Some lines delivered as throw-away after-thoughts are funny enough by themselves to make the cut in other shows.
James Moran and Lucien Young, as hero Jack Lang and villain Dr. Apocalypse respectively, work very well together, both as the lead roles and creators of a perfectly balanced script. They are well-complemented by Tamara Astor as Jennica Wildfire, Lang's apparent love interest, along with Joe Bannister as Falcon, head of the intelligence agency who tries to get Lang to play by the rules, and Johan Munir as director Zach Jack. There is a reasonably long list of supporting characters played by these three, including my personal favourite Dena, the plain computer technician who Lang always calls when he goes rogue. None of the characters are superfluous and all add at least humour to the already highly enjoyable show.
Not since Dutch Elm Conservatoire graced the Fringe has a comic play managed to capture both smartness and silliness at the same time. The audience were thoroughly entertained and can be heard raving about the show before they'd left the building. Don't wait for the DVD version, see this show for yourself.
8/10 for a great comic play, something I picked out based on a poster in Cappadocia one evening and as it wasn't earmarked for review went to see it for Chortle. Steve was keen to expand to see things other than well-known names and I bet the team behind it are thrilled with the final copy!
Caroline Mabey: One Minute Silence
Caroline Mabey: One Minute Silence - 7/10 for a bold and different show from Caroline, currently up on Chortle
14 August 2011
Edinburgh Festivals In The Glorious Summer Time
Tom Bell Begins
Tom Bell Begins - Who says successful gritty reboots can only be applied to comic books, and not to comics? Tom Bell wants to tell us his origins story.
The show begins with video montage and dramatic music as we see the possibilities of Tom Bell as a comic-book hero and slowly journey into his dark world – until Bell suddenly cuts the intro as it was a bit too gritty for him and he's getting a bit scared, so lightens the mood with some audience participation.
Begins is comprised of the classic three acts: the beginning, the struggle and the rising. After sweeping through his childhood and dreams, a main one being that he wanted to grow up in Gotham but instead lived in nearby Kegworth, Leicestershire, Bell builds to his first foray into writing and his first true love. He quickly realises that he must leave Kegworth to fulfil his dreams and maybe find love again. The struggle ensues, wrestling with the dark side of performing ironically misogynistic gags to a crowd taking them seriously and trying to reinvent himself. Ultimately, Bell rises and overcomes these struggles in the most unexpected yet amusing way.
The show maintains an interesting balance, part of it tries to deliver his gritty story reboot, while the rest is self-deprecation through his shambolic nature. Laughs come constantly, and the variety of segments keeps the audience entertaining and engaged without any lulls. Bell successfully pulls off video interaction with Alfred his butler, a multitude of slides, at least three discrete characters, a couple of dances, two songs on his guitar and some impressive montages. Clearly a lot of work has gone into this hour, which is tight, imaginative, well executed and accessible – despite it's geeky premise.
8/10 for an enjoyable hour that I actually saw twice (due to over-running the first time) and was still entertained.
The show begins with video montage and dramatic music as we see the possibilities of Tom Bell as a comic-book hero and slowly journey into his dark world – until Bell suddenly cuts the intro as it was a bit too gritty for him and he's getting a bit scared, so lightens the mood with some audience participation.
Begins is comprised of the classic three acts: the beginning, the struggle and the rising. After sweeping through his childhood and dreams, a main one being that he wanted to grow up in Gotham but instead lived in nearby Kegworth, Leicestershire, Bell builds to his first foray into writing and his first true love. He quickly realises that he must leave Kegworth to fulfil his dreams and maybe find love again. The struggle ensues, wrestling with the dark side of performing ironically misogynistic gags to a crowd taking them seriously and trying to reinvent himself. Ultimately, Bell rises and overcomes these struggles in the most unexpected yet amusing way.
The show maintains an interesting balance, part of it tries to deliver his gritty story reboot, while the rest is self-deprecation through his shambolic nature. Laughs come constantly, and the variety of segments keeps the audience entertaining and engaged without any lulls. Bell successfully pulls off video interaction with Alfred his butler, a multitude of slides, at least three discrete characters, a couple of dances, two songs on his guitar and some impressive montages. Clearly a lot of work has gone into this hour, which is tight, imaginative, well executed and accessible – despite it's geeky premise.
8/10 for an enjoyable hour that I actually saw twice (due to over-running the first time) and was still entertained.
13 August 2011
Phil Nichol - The Simple Hour
Phil Nichol: The Simple Hour - It's a sold out show, yet around a dozen seats are still empty - what do you do? Most comics would kick on and start the show, but Phil Nichol isn't most comics.
After a thoughtful consultation with his audience, it seems the decent thing to do is wait five more minutes for people who have been held up. Yet the audience still want to be entertained. So Nichol proceeds to break at least three golden rules of comedy, by giving over the mike to punter Tarquin Delaney, who had the temerity to request Only Gay Eskimo. Delaney takes the stage, Nichol takes a place in the audience… so when latecomers turn up, they must wonder what madness this is. The answer is it's Phil Nichol's madness.
Is there another comic who would stop a show when heckled about the origin of the Mah Nà Mah Nà song - and get away with it? Having argued with almost every member of the audience, Nichol insisted people get their phones out to find whether it was actually first used on Sesame Street or The Muppets (it was Sesame Street). When Nichol is proved right, he jubilantly straddles chairs in the front row shouting joyous profanities to the audience in celebration.
His Simple Hour is clearly not suitable for his Born Again Christian parents, although that was his aim. Simple it maybe in name, but it is expertly delivered and perfectly timed. True, a small part of his material has been reprised from previous shows but you can't hold Nichol to a higher standard than other performers, and he's already won the highest award Edinburgh can bestow.
We return a couple of times to Nichol's trusty guitar, which is some of the best playing seen at the festival. He finally delivers his oft requested Only Gay Eskimo; while his final song contains so much trademark Nichol intensity that he breaks a string, but still finishes his performance.
The simple truth is that Nichol is at his best when acting, either delivering stunning stories like Nearly Gay or The Naked Racist, or in more pronounced characters such as the dead poet Bobby Spade. But even as himself, he still bests most other comics and gives audiences huge laughter for their money. The Simple Hour is very funny hour of madness, mayhem and magic, as only Nichol has mastered.
8/10 for the unique Phil Nichol, a personal favourite over the years.
After a thoughtful consultation with his audience, it seems the decent thing to do is wait five more minutes for people who have been held up. Yet the audience still want to be entertained. So Nichol proceeds to break at least three golden rules of comedy, by giving over the mike to punter Tarquin Delaney, who had the temerity to request Only Gay Eskimo. Delaney takes the stage, Nichol takes a place in the audience… so when latecomers turn up, they must wonder what madness this is. The answer is it's Phil Nichol's madness.
Is there another comic who would stop a show when heckled about the origin of the Mah Nà Mah Nà song - and get away with it? Having argued with almost every member of the audience, Nichol insisted people get their phones out to find whether it was actually first used on Sesame Street or The Muppets (it was Sesame Street). When Nichol is proved right, he jubilantly straddles chairs in the front row shouting joyous profanities to the audience in celebration.
His Simple Hour is clearly not suitable for his Born Again Christian parents, although that was his aim. Simple it maybe in name, but it is expertly delivered and perfectly timed. True, a small part of his material has been reprised from previous shows but you can't hold Nichol to a higher standard than other performers, and he's already won the highest award Edinburgh can bestow.
We return a couple of times to Nichol's trusty guitar, which is some of the best playing seen at the festival. He finally delivers his oft requested Only Gay Eskimo; while his final song contains so much trademark Nichol intensity that he breaks a string, but still finishes his performance.
The simple truth is that Nichol is at his best when acting, either delivering stunning stories like Nearly Gay or The Naked Racist, or in more pronounced characters such as the dead poet Bobby Spade. But even as himself, he still bests most other comics and gives audiences huge laughter for their money. The Simple Hour is very funny hour of madness, mayhem and magic, as only Nichol has mastered.
8/10 for the unique Phil Nichol, a personal favourite over the years.
Alistair Green - Outpatient
Alistair Green: Outpatient - Alistair Green is infectious, but thankfully just in a comedic way.
Making his full Edinburgh debut, Green goes with an old school stand-up stage - a large spotlight circling around his slim figure as he steps forwards and backwards centre stage, not needing to run around or spend time chatting with his audience. There is almost a voyeuristic atmosphere created in this dark cave-like room as the clinically bright spotlight engulfs him and we listen to his medical history.
Last year Green discovered, out of nowhere, that he was suffering from a potentially life threatening auto-immune disease. The problem with his kidneys naturally caused serious concern for Green, with doctors talking about dialysis or even transplant. It's not the typical comedy gold-mine normally chosen to try and entertain an early afternoon crowd in your first hour show, but Green makes it work well.
He takes us on a journey from his surprise diagnosis, various tests and specialists, through to waiting for results and ultimately his celebration of getting the all-clear. There are some less original subjects touched on, including hospital food and traveller's diarrhoea, but these are the sub-plots to support his main routine which operates on a higher level. Throughout his set he gently steps between enlightening medical stories and smart gags, with the audience never knowing on which side of that line we are currently on.
Green is a quiet man, favouring softly spoken set-ups that deliver inversely-proportional laughs. His well-paced material is engaging and keeps the audience listening with intrigue. Green deftly crafts some well-disguised gags, sometimes just needing an intentionally half-finished line to get the audience to realise the big punchline. There are some creative callbacks too as he builds to a very funny finale.
In short Green clearly has all the skills to go far. With intelligent and subtle gags, and a gentle delivery that sets him apart from many other comics, the prognosis for Alistair Green is very bright.
7/10 for Alistair's debut show, in some ways reminiscent of a young Skinner (I'm thinking 1991 Perrier) both physically and in some delivery.
Making his full Edinburgh debut, Green goes with an old school stand-up stage - a large spotlight circling around his slim figure as he steps forwards and backwards centre stage, not needing to run around or spend time chatting with his audience. There is almost a voyeuristic atmosphere created in this dark cave-like room as the clinically bright spotlight engulfs him and we listen to his medical history.
Last year Green discovered, out of nowhere, that he was suffering from a potentially life threatening auto-immune disease. The problem with his kidneys naturally caused serious concern for Green, with doctors talking about dialysis or even transplant. It's not the typical comedy gold-mine normally chosen to try and entertain an early afternoon crowd in your first hour show, but Green makes it work well.
He takes us on a journey from his surprise diagnosis, various tests and specialists, through to waiting for results and ultimately his celebration of getting the all-clear. There are some less original subjects touched on, including hospital food and traveller's diarrhoea, but these are the sub-plots to support his main routine which operates on a higher level. Throughout his set he gently steps between enlightening medical stories and smart gags, with the audience never knowing on which side of that line we are currently on.
Green is a quiet man, favouring softly spoken set-ups that deliver inversely-proportional laughs. His well-paced material is engaging and keeps the audience listening with intrigue. Green deftly crafts some well-disguised gags, sometimes just needing an intentionally half-finished line to get the audience to realise the big punchline. There are some creative callbacks too as he builds to a very funny finale.
In short Green clearly has all the skills to go far. With intelligent and subtle gags, and a gentle delivery that sets him apart from many other comics, the prognosis for Alistair Green is very bright.
7/10 for Alistair's debut show, in some ways reminiscent of a young Skinner (I'm thinking 1991 Perrier) both physically and in some delivery.
11 August 2011
Aidan Bishop - Misspelled
Aidan Bishop: Misspelled - Fifteen per cent of the world's population have dyslexia which, as of 2008, now includes Aidan Bishop.
Bishop's fourth Edinburgh show is an educational piece exploring the issues, myths and his personal struggles with the condition. His opening video, shot in Dublin, quickly gets out of the way the old gag about dyslexia being hard to spell and establishes that most people don't know, or seem unwilling to state, much about the condition. Bishop wants to change that.
This show is a deeply personal journey about his linguistical failings before he understood he had dyslexia, a common one being the use of similar sounding words, such as saying volcano when he meant tornado. By his own admission, his New York Queens accent never sounds the smartest, which coupled with the dyslexia means he was inevitable perceived as dumb and lazy. Despite not initially getting into university he persevered and finally made it, graduating with a history degree.
Bishop's delivery comes across as nervous and forced, seemingly due to the level of concentration he is exerting to not make a verbal mistake. There is a vibe coming from him of a student delivering his final oral report to his teachers. He is far more relaxed when off-script and clearly has abilities as a comic that are more suited to less personally uncomfortable material.
During a brief interaction with people in the audience who also have dyslexia, he quips to a woman who reveals she is from Greece to ‘give me back my money’. An interesting tell on Bishop's goal for this show was how easily he gave up on exploring the interesting dynamic between another woman and her male ‘friend’ – education rather than banter was the priority.
Bishop tries to wrap the show up on a positive note with the very successful people who have dyslexia and some self-deprecating examples of mistakes in his original edits and tweets. This grand finale doesn't come close to the likes of Adam Hills's uplifting endings but I don't think Bishop will lose sleep over it, he aimed to shed some light on the issues and myths about dyslexia and he certainly achieved that.
10 August 2011
Happy Birthday Mr Tickle
9 August 2011
Colin Hoult - Inferno
Colin Hoult: Inferno - Still as dark as ever, Colin Hoult has this year moved from focussing on more macabre characters to ‘heroes’, mostly human ones but all inevitably flawed and retaining his signature strangeness.
We walk in meeting Eddie Cartesian and learn of his exclusive love of just one song, meet Thwor and his mighty hammer, understand Glin Caution is frustrated with his ‘pervert’ neighbour Preston Pearce, get introduced to Little J Parker from Nottingham's Crime Fighting Union and several more strange folk. There is a peculiar symmetry as the show almost rewinds through the characters towards a confounding sing-and-dance-along with the audience.
Hoult's work is funny and entertaining, yet manages to be more theatre than comedy at times. If you are looking for conventional humour, then you need to know punchlines don't live in the world Hoult inhabits. There are moments sprinkled throughout the show where you wonder where the humour is going to coming from, only to find an empty void of despair There are also perplexing prop choices including a huge tree taking up a large amount of centre stage, which seems to serve the minimal purpose of a microphone stand, yet maintains a constant visual dominance.
Hoult employs a noticeable motif of muted music coming from another building, reinforcing the idea of his characters living off-stage from the rest of the world. Music plays a key role in many scenes; within the space of a couple of minutes we have gone from chilled-out electro music, to a whispered repetitive chant and to a club anthem without the transitions feeling out of place. The most memorable moments include an adorable dog playing fetch the banana with the several audience members and a visit for buttered tea with a senile old man ‘Billy’ - including a scene-stealing performance by Dan Snelgrove as he battles against the restrictions of Pleasance Two.
Hoult has an impressive range of discrete characters and performs them all extremely well, perfectly complimented by Snelgrove and Zoe Gardner, making Inferno a well crafted and delightfully delivered hybrid of comedy, theatre and darkness.
We walk in meeting Eddie Cartesian and learn of his exclusive love of just one song, meet Thwor and his mighty hammer, understand Glin Caution is frustrated with his ‘pervert’ neighbour Preston Pearce, get introduced to Little J Parker from Nottingham's Crime Fighting Union and several more strange folk. There is a peculiar symmetry as the show almost rewinds through the characters towards a confounding sing-and-dance-along with the audience.
Hoult's work is funny and entertaining, yet manages to be more theatre than comedy at times. If you are looking for conventional humour, then you need to know punchlines don't live in the world Hoult inhabits. There are moments sprinkled throughout the show where you wonder where the humour is going to coming from, only to find an empty void of despair There are also perplexing prop choices including a huge tree taking up a large amount of centre stage, which seems to serve the minimal purpose of a microphone stand, yet maintains a constant visual dominance.
Hoult employs a noticeable motif of muted music coming from another building, reinforcing the idea of his characters living off-stage from the rest of the world. Music plays a key role in many scenes; within the space of a couple of minutes we have gone from chilled-out electro music, to a whispered repetitive chant and to a club anthem without the transitions feeling out of place. The most memorable moments include an adorable dog playing fetch the banana with the several audience members and a visit for buttered tea with a senile old man ‘Billy’ - including a scene-stealing performance by Dan Snelgrove as he battles against the restrictions of Pleasance Two.
Hoult has an impressive range of discrete characters and performs them all extremely well, perfectly complimented by Snelgrove and Zoe Gardner, making Inferno a well crafted and delightfully delivered hybrid of comedy, theatre and darkness.
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