Day 4 - Tom Adams Can't Come

Tom Adams Can't Come - The GRV

Tom Adams? John Smith? Fred Bloggs? All sound like your Average Joe, right? Wrong! He may well have a common name, but Tom Adams’ talent is most definitely unique, and shame on all those who have never heard of him...although I do have to confess that, were it not for a chance witnessing of his 5 minute slot at Up the Creek one Sunday, then neither would I. That’s the trouble; not enough people know about this man! And thus, that day, I and just 10 other people were the only ones to witness his initiation into the ‘Five Pound Fringe’ (previously Adams was part of the ‘Free Fringe’).

In a funny sort of way, my accidental discovery of him and his very anonymity sum him up perfectly; he is both unassuming (in character and as himself), and understated. But by no means should this suggest that he is boring. True, you won’t catch him making diva demands or blowing his own trumpet (a guitar is more his thing), but then again, he doesn’t need to. Quite simply he is a true gentleman whose comedy speaks, or rather sings, for itself.

Greeting the audience personally at the door (something you can’t help but feel he’d do even with an audience of significantly more), he is in character from the word go, hesitantly ushering the audience to the semi circle of chairs surrounding his lone bar stool. With his clean cut look of slick-wet hair, a crisp white shirt and black tie, and some rather sexy specs, you can’t help but notice something of the Clark Kent about him (fitting therefore that in previous years his repertoire has included the song ‘Superman’!). But don’t be deceived, for Adams is oh so much more than the image he has created for himself and it’s when he picks up his guitar that the real magic begins...

For his ability to weave tales into lilting melodies, Adams is unsurpassed. They might not seem like obvious comedic targets but highlights most definitely include accounts of a sausage stealing ‘Meat Thief’, a case of mistaken identity in ‘Stefan’ and a fight of the protagonists in his hilarious Bourne versus Bond parody. For what his songs lack in terms of Maine-esque shock factor (see day 3 review), they more than make up for with their sheer intelligence, quick-wit and the care that has gone into them; his songs are not throwaway musings, but something to be treasured. Not only that but his range of accents, characterisation, and different styles of music all made his gig one of the best value for money shows at the Fringe. Indeed the audience even gets their own songbook to take away! And as an extra bonus to that already added bonus, Adams also indulges in some duck puppet-based physical comedy in a sketch whose very repetition should have rendered the whole thing rather wearying but instead, with Adams’ dead-pan face, had me crying with laughter.

...now if only if those 10 audience members that day told another 10 people about Tom Adams, and so on and so forth, he’d soon get the recognition his Fringe performance so clearly shows he deserves. Tom Adams can’t come, but you should definitely go.

Comedy Hen

Day 3 - Loretta Maine, I'm not drunk I just need to talk to you; GIT (Dan Atkinson, Jon Richardson, Lloyd Langford)

Loretta Maine: I'm not drunk I just need to talk to you - The Caves

Ever had the urge to leave a comedy gig singing entirely inappropriate material?! Yes? Then get yourself to a Loretta Maine gig NOW! Talk of bleeding record producers, butchered ex-lovers and revenge sought on former bullies has never been so unappealingly appealing. Not that Maine would be pleased with this; she hates life and she probably hates you. But if you make it past her first musical interlude inviting any Loretta-haters to ‘Fuck off home’, then you can sit back and enjoy the ride...

Maine’s bedraggled appearance and make up smeared face make for comedy value alone – that and the fact that her bottle of white wine (screw top, naturally) is clutched with arguably more intensity than her guitar. And let us not forget that her backing band is called ‘Dog Vagina’, yes that’s ‘Dog Vagina’– you couldn’t make this up!

Except of course that’s exactly what someone has done and that someone is Pippa Evans - she does for character comedy what Jesus did with water – no, not walk on it, but turn it into something truly amazing and oozing with alcohol! Comedy abounds before she has even opened her mouth. And yet it is when this Maine-Evans hybrid does open her mouth that the audience are in for a real treat, for if it’s not already obvious, Maine doesn’t mince her words.

She's a straight-down-the-line-tell-it-how-it-is kind of girl. Fuelled by the aforementioned white wine, Maine gives her audience frank insight into her life in the form of musical comedy, from her less than encouraging mother to her sham wedding. Along the way Evans’ distinctive voice gets to grapple with such lyrical gems as (when referring to hiding in an ex’s wardrobe in 'I'm Fine') “...and then your new girlfriend arrived and climbed into your bed, I meant to creep out silently but I shocked you both instead”. If Evans’ talent wasn’t already obvious enough, drawing on her Showstopper background (see review Day 1), she also improvises a song about a random male audience member that has taken her fancy –having not only the ability to make it both lyrically comical and tuneful, but also the gall to serenade him in Maine’s trademark creepy manner.

Maine is the personification of all those thoughts you’ve never dared express. She is freakishly compulsive and her songs are irritatingly catchy. So before you, ‘Fuck off home!’, why not give her a try?! Catch her on tour here.

Comedy Hen


[I feel it necessary for a slight aside before beginning the next review: I realise that this blog isn’t the most up to date in the world given that 3 months post Edinburgh Festival I am still writing reviews - but stay with me! I’m ploughing my way through whenever I get a moment...besides with many of the shows touring, it’s still relevant...and I promise to be finished before next Edinburgh!]

GIT (Jon Richardson, Dan Atkinson, Lloyd Langford) – Gilded Balloon

If you can honestly confess to 1) never having mocked a friend’s photo on Facebook or 2) never having wondered what on earth possessed someone to confess to that particular thought / vice / disease in their status or on Twitter, then this show isn’t for you. The rest of you - which must be everyone bar saints, surely? - can consider yourselves GIT’s dream audience or...the Guys’ Ideal Turnout (these will only get more tedious!), if you will.

For those not in the know, GIT, under the guidance of Dan Atkinson, Jon Richardson and Lloyd Langford, is a quiz show with social networking at its core. Its tangents however are many and varied! Principally claiming to make judgements on anyone and everyone incapable of operating internet privacy settings, along the way the show also incorporates:

• a variety of increasingly surreal rounds including guessing which parts of Lloyd’s head are concealing fruit, Dan’s dubious pictures of animal anatomy, and a somewhat unrelated but hilarious taste test
• some rather imaginative and usually totally non-PC artwork
• a handful of dressing up
• and what every good quiz show needs - a gimp mask (bought second hand on ebay)!

Confused? You may well be. Unlike the (usually) excessively practiced and finely-tuned solo shows, very little about GIT is predetermined. However, instead of this being problematic, it is in fact rather refreshing. This trio clearly ‘get’ each other and the spontaneous nature of the show gives them the chance to bounce ideas (and abuse) off each other and the audience. It allows them to show why they do what they do, that their ability to think on their feet is second to none and that they are all capable of one of comedy’s key ingredients; Greatly Impressive Timing (strike 2!). The audience never knows what’s in store and quite often nor do the Gits. Whilst others believe this has attributed to the failure of the show, I can’t help but feel it’s the very thing that leads to its success. Admittedly as the week went on the show did deteriorate a little, but in the somewhat artificial and exhausting situation that is the Edinburgh Festival, this was to be expected.

Having been one of the privileged few to witness the inauguration of GIT right back at the start of this year, I was particularly looking forward to seeing how the boys had progressed their show. In hindsight I’m not sure ‘progressed’ is quite the right word. Nevertheless in spite of the chaos, or indeed because of it, the Greatly Improvised Trio (surely what GIT must stand for?!) delivered a cracking show. Long may they continue winging it!

Catch them at their GIT Christmas Special on Dec 15th.

Comedy Hen

Day 2 - Amused Moose Laugh Off Grand Final 2010; Jon Richardson, Don't Happy, Be Worry; Jimmy McGhie

Amused Moose Laugh Off Grand Final 2010 – The Bongo Club

Being the Grand Final of a 6 month search claiming to “showcase outstanding stars-in-the-making” and with thousands of young hopefuls trying to break into the world of stand up, this show should have delivered the cream of the crop. Whether it was nerves that got to some of the finalists or complacency is unclear, but what is obvious is that some of them just aren’t ready for the big time yet. In particular Mark Restuccia seemed to be somewhat lacking, with nothing individual or distinctive to his act and a rather dull delivery. Granted comedy is subjective but in this case it would appear that the majority of the audience agreed, for once the votes were counted, those who struggled ranked nowhere. Having been pitched as a ‘Grand Final’ the overall standard of this show was disappointing and wasn’t much different to catching those up-and-coming acts who try their hand at a 5 minute slot down at your local comedy club.

That said eventual winner Rob Beckett was the show’s saving grace (along with host Stephen K Amos, naturally); personable, imaginative and with a Watsonesque delivery, Beckett is a wealth of comedic material who as a stand-alone act deserves 5* ratings. Runner up Liam Williams also deserves a mention for his engaging style. Reminiscent of fellow comedian Dan Atkinson (another comedian who deserves far greater recognition), Williams slightly chaotic but enthusiastic delivery ensured the audience were on his side even when his content occasionally let him down.

For the majority of these finalists stardom is a long way off; Williams will get there eventually but for Beckett it’s surely just around the corner.

Jon Richardson: Don’t Happy, Be Worry – Pleasance Above

Now I’m pretty sure comedy reviewers are meant to be impartial so here goes my review on my already declared ‘Master of Comedy’. Jon Richardson is AMAZING. Ah, erm, impartiality you say? Yes yes, ok! Admiration aside he’s still pretty darn good, so-called ‘disappointing’ Edinburgh or not (as his fellow GITS wouldn’t let him forget!)

Whilst last year’s show encouraged audiences to avoid life’s peaks and troughs (thereby sidestepping the depression that inevitably follows a high), drawing on his stint on Grouchy Young Men, this year Richardson’s focus is very much on turning molehills into mountains, letting the little things really get you down. In the firing line includes watching the news (too much going wrong in the world), optimists (too damn happy), that infamous Bobby McFerrin song (not enough worrying) and even his true love, football, or more precisely John Terry (too much philandering). All of which is delivered beneath a £500 prop of the very thing that led to this year’s tirade; a set of traffic lights, yes really.

Having experienced Richardson’s gigs numerous times, I didn’t go expecting an hour of carefree comedy (the clue is in the title after all) and therefore accordingly I wasn’t disappointed. Besides, these tales of woe are delivered, rather ironically, with such gusto that they are a delight to listen to. By the end of the show his childlike manner, self deprecation, and cheeky demeanour will mean you want to scoop him up and take him home in an attempt to reassure him that it’s all going to be alright (no? Just me then!).

Don’t let the misanthropic nature of his comedy put you off; he doesn’t expect you to agree with him (well aware is he of his ability to outgrump even the Grinch), and he isn’t there to convert you to his ways, far from it - Richardson doesn’t wish his predicament on anyone. In short he does the worrying so you can do the happying!

Following the unmitigated success of his 2009 show ‘This Guy at Night’, it may appear that Richardson has lost his way a little this Edinburgh but (against his better nature) he’s bound to find it again and in the meantime he’s still bloody excellent. Catch him on tour while you can.

Jimmy McGhie: The All-Powerful Warrior Who With His Endurance and Inflexible Will to Win Goes From Conquest to Conquest Leaving Fire in His Wake – Pleasance Courtyard

From the moment Jimmy McGhie walks on stage you can’t help but like him – affable, enthusiastic and unignorably easy on the eye, he ticks every box in terms of potential stardom. Not only does he get away with causing a ticketing nightmare by having what must be one of the longest title’s at this year’s fringe, but so too does he get away with brazenly adopting former African dictator Joseph Mobutu as the inspiration for his show. As a result of an ongoing (and somewhat reluctant) mission, this is the man that McGhie channels throughout the hour as he endeavours to become a more dynamic and purposeful human being.

As becomes apparent throughout the show, McGhie doesn’t think of himself as one of life’s go-getters. Christened ‘Jimmy Pies’ at school, having just turned 30 he now finds himself living with his older sister (before getting them both kicked out) and with hours to while away in Tesco Metro. And so ensues an hour of largely observational and self-exploratory comedy in which McGhie regales the audience with his inability to move with the technological times, his frustration with estate agents and his distaste for those ‘Gap Yah’ students he encounters whilst taking time out in Kenya. Not only are such tales cleverly crafted and smoothly interwoven, but McGhie also succeeds in bringing the hour to an agreeable conclusion.

So why the mediocre rating? Well, whilst the overall concept of his show is a good one, his ‘inner Mobutu’ is a device he doesn’t make enough use of. Despite it providing some of the biggest laughs of the night, by the end it felt little more than an excuse for McGhie to talk about what he perceives to be his rather lacklustre life. That’s the other main problem with his show; it feels just a little bit insincere, almost as if his material stems not from his own beliefs but rather an attempt to give the audience what they want. It’s what I would term ‘nice guy comedy’, nothing more nothing less.

This Edinburgh McGhie undoubtedly played it safe. That said, he is certainly a talented comedian who is swiftly rising through the comedy ranks – it’s just that unlike Mobutu, he’s not quite yet leaving fire in his wake

Comedy Hen

Day 1 (21 August) - The Ginge, the Geordie and the Geek; Showstopper the Improvised Musical

The Ginge, the Geordie and the Geek, Just the Tonic

Take 3 naturally talented (and strapping!) lads, a handful of hilarious props, a pinch of nakedness and a good dousing of the cheesiest music you have ever heard and voilà - ‘The Ginge, the Geordie and the Geek’; one of the best and most entertaining sketch based shows Edinburgh has on offer. As the first show in my Edinburgh adventure and with the lads’ trailer alone promising great things, expectations were high; and boy were they met!

That they’ve worked hard at this show is obvious from the outset (and indeed the incredible ending) and their consistently high energy and incredibly slick scene changes ensure that the audience’s attention never waivers. Over the hour we are introduced to a myriad of entertaining characters, many of whom reappear throughout the show much to the audience’s delight. From a despondent scarecrow, a lollipop man with delusions of grandeur (aka ‘the Protector’) and a Polish superhero, the boys’ imagination and originality is unmistakeable. Choosing a favourite would be like choosing between children but I’d challenge anyone not to go away recreating at least one of their masterpieces!...and if that hasn’t tempted you enough, the Geek’s facial expressions alone warrant a visit to this fantastic show!

Showstopper the Improvised Musical, Gilded Balloon

In the name of trying out alternatives to stand up in Edinburgh and having been taken in by the buzz surrounding this show, at 10.50pm on Saturday evening I found myself witness to the improvised musical ‘What the Dickens’; a title chosen by the audience, as was just about everything else within the show. From the overarching theme of ‘Victorian London’ and the setting of ‘Bedlam’, to the song styles which included bollywood, Oklahoma, and Dream Girls, the audience ensured that the actors task was never an easy one! And yet still the musical appeared effortless, a joy to watch, making it very hard to believe that what you witnessed was truly the work of that very moment (although I’ve no doubt it was despite theories that at least some of it is common to every performance).

That’s not to say that the musical didn’t go off track occasionally, it did, but the company had made allowances for this by the inclusion of a director-cum-narrator who at the start of the show phones his ol' pal Cameron to pitch a new musical. Although this beginning did feel somewhat laboured it did mean that the story could be steered, ensuring plot development, a sense of direction and a satisfying conclusion.

Performing in a musical requires talent but performing in a different musical with a premiere every night whose characters, story and songs are unknown and have never been rehearsed, takes guts; something this show has in bucketfuls. That the musical also manages to be funny is down to some very imaginative prop use and the individual actors whose ability to think on the spot is incredulous.

Go along and shout out the craziest thing you can think of, chances are you’ll see it recreated before your very eyes!

Comedy Hen

Edinburgh Festival Fringe 2010

Ah the Edinburgh Festival Fringe, the highlight (and arguably most stressful month) of every comic’s year; put on a crowd pleasing show and the opportunities come flooding in but hit the mark even slightly off target and reputations can be ruined faster than Matt Forde polishing off last night’s curry for breakfast.

So with the stakes so high why do so many comics return year after year? Even those big names - such as Jimmy Carr, now performing his 9^th consecutive solo show - who don’t need the kudos of the Fringe to boost their career, consistently return to the Scottish capital in that semi sadistic but potentially rewarding manner. Again the question is, why? Quite simply because there is no festival like it.

And so I find myself here in Edinburgh, having been similarly enchanted by the Festival’s appeal, with 10 days of comedy ahead of me and 25 shows timetabled with military precision into that time (yes, really, spreadsheet and all!). Well I say 25, in reality it’s a number that seems to increase every time I catch sight of the Fringe brochure. As such I’ve decided to review the shows I see in a slightly briefer day-to-day basis, partly for my own sanity and partly for yours! And rather than stars, it seems only natural for the Comedy Hen to start giving out eggs.

So check out the next post to see how my first day at the Edinburgh Festival Fringe progressed…

Comedy Hen

Andrew Lawrence, ‘What To Do If You’re Not Like Everyone Else’, Radio 4 recording, Up the Creek

Could it be magic?
Andrew Lawrence is a magician. It’s the only explanation for it, the only way he can have won over an audience so quickly. And as if that wasn’t kudos enough, this was an audience of which the majority, as Lawrence established within the first few minutes of this Radio 4 recording, had 1) never seen him before and 2) never even heard of him. In spite of this, after a whirlwind 10 minute warm up, Lawrence came back onto the stage (as was required by the nature of the recording) to rapturous applause, already proving why he was the one on stage and we were but the humble audience. As an Up the Creek regular and one of the few who had previously seen Lawrence, I came already knowing I was in for a great night and on the whole it didn’t disappoint...

Aesthetically pleasing
As Lawrence takes to the stage you can’t help but be struck by his appearance – he has a “face you will never forget”; not in a good way. With eyes tinier than Katie Price’s brain cell, wispy ginger hair, and an albinoesque complexion, Lawrence may be all kinds of ‘pleasing’, but aesthetically is not one of them; something which provided him with self deprecating material à gogo in the first recording which dealt with our appearance obsessed society.
This was definitely the more successful of the two episodes recorded that night. With fresh material, Lawrence’s sometimes over-rehearsed delivery didn’t have the chance to surface and his unique turn of phrase felt exactly that. Tales of a sadistic Spanish dentist, an equally sadistic sun worshipping mother, and the joy of squirrel stamping had the audience rapt from start to finish. Having seemingly left their conscience at the door, the typically twisted nature of Lawrence’s material was lapped up and 15 minutes passed by in a flash. The audience was left craving more and somewhat disappointingly they got it...

Quit while you’re ahead
I say disappointingly because Lawrence’s next recording on the topic of human interaction felt somewhat tired. The content was old, and whilst the majority of the audience would not have known this, Lawrence clearly felt more at ease with this material, and his tendency to just ‘churn it out’ resurfaced. You might say that Lawrence’s familiarity with the material was inversely proportional to the enjoyment level of the gig...well you might if you were a mathematician.
New material, however, was not totally lacking from this episode. An elephant’s inner monologue provided a great opportunity for Lawrence’s imagination to run wild and somewhat ironically my personal highlight came in this half; let’s just say a Brummie accent has never been so well received thanks to the words ‘Kit Kat Chunky’ and ‘Monster Munch’. Incidentally Lawrence may not be aesthetically pleasing but he is most definitely aurally pleasing. Each anecdote is delivered with an appropriate accent or voice as Lawrence appears possessed by a range of characters that he can conjure up at just a moment’s notice, from the aforementioned Spanish dentist to his own mother.

The frustration came ultimately in the thought that the audience might go away believing that the first recording was a fluke rather than realising that the second was the anomaly. There’s no doubt that Lawrence is good, indeed he will soon be appearing on Michael McIntyre’s Comedy Roadshow (currently the bar by which all comedians seem to be bizarrely measured), and whilst this gig might not have shown him off to his full potential it did at least prove one thing: Andrew Lawrence is not like everybody else - he’s funnier.

Comedy Hen

Mark Watson, ‘Do I know you?’ (preview), The Junction, Cambridge

The Show
Imagine being someone who has the words ‘Magners’ or ‘advert’ regularly shouted at you as you go about your everyday business, bloody annoying right? Welcome to the life of Mark Watson; essentially a down to earth bloke who thanks to one, by his own admission, regrettable pear cider advert later, is now deemed an acceptable target for such behaviour. Of course it’s not just the advert but numerous TV appearances (Mock the Week, Never Mind the Buzzcocks, Have I got News for you and many more) that have lead to people wondering whether or not they know this seemingly familiar man they meet on the train or pass by in the street.
As a title, ‘Do I know you?’ would suggest that these encounters are what form the basis of his show, and indeed Watson does deliver a few cracking related anecdotes, but they are by no means at the heart of the show. Instead the audience is treated to front row seats as Watson takes them on a journey from despair to, if not hope, at least an acceptance that shit happens, encountering tales of sausage rolls, Derren Brown and Hiroshima (yes really) along the way.

The man
All of this is delivered in Watson’s typically engaging ‘too much to say, not enough time’ manner but there’s no doubt that the audience is in safe hands, even if the man himself seems to question it on occasions. It’s this manner that allows him to get away with descending into what would otherwise be bleak topics including his own mortality (something which suddenly seemed closer than assumed as he perilously flirted with the edge of the stage). Transitions are smooth (something other comedians would do well to learn) and there is a ‘completeness’ to his show as he skilfully ties together any loose ends before the hour is up. The audience leaves feeling that that particular chapter is complete even if Watson’s not had the time to tell you the rest of his story, though tell you it he would; something he freely admits when taking a rare moment to pause for breath – “You came out to see a man talk, and bloody hell he can talk!”

The added bonus
Despite this the show actually began in, *shock horror*, silence, well at least from the comedian himself, whilst the audience delighted in Watson’s new way of passing time as people take their seats. Known for his madcap approach to shows (hence the birth of the 24, 33 and 36 hour marathon shows), this preview saw Watson sat on the stage communicating with his audience by typing to them; passing comment on the audience’s shenanigans including a particularly bossy lady in the front row. Comedians have long tried to find innovative ways of beginning their shows, but this one really worked. It’ll never be the same twice and you can’t help but feel you're getting a little ‘added extra’, besides Watson is often at his wittiest when making off the cuff remarks as is the case throughout the show.

That’s not to say that the effort Watson has clearly put into the show is in vain. With a month still to go until the Edinburgh Festival kicks off, this preview proved that his show, just like the Watson-endorsed cider, is already close to guaranteeing 0% disappointment. As he admits singing “Please don’t die” to his baby boy, the same can be said about Watson; he’s a young comic with too many people still to witness his genius live, to pop his clogs, comedy or otherwise.

Comedy Hen