Yesterday afternoon, I went to a Quarter Final of this year’s Musical Comedy Awards, which had 12 contestants performing. The Semi-Finals and Final are yet to come.
The Awards have been running eight years and I had not been aware of them. Which demonstrates what I know about anything.
I had seen two previous Musical Comedy Awards heats and now this Quarter Final and the strangest thing to me was that there was not one duff, sub-standard act in any of them. Genuinely surprised me.
As well as seeing these three Musical Comedy Awards shows in the last few weeks I have seen three other talent shows and it just reminds me how impossible it is to spot at an early stage who will succeed in years to come.
Some average or below-average acts develop quickly or slowly into wonderful acts. Some really talented, stand-out acts never get anywhere. You might as well toss a coin.
So the old cliché that “everyone who took part is a winner” is sort-of true.
Getting to the knock-out stage of any serious competition is something. After that, the rest is persistence and/or pure luck. No-one can really spot who will succeed.
Some brilliant performers self-destruct. A lot of them. I have seen it happen. Repeatedly. It is in the nature of talent. Often, average acts succeed because they are simply more persistent and more reliable.
The increasingly prestigious Malcolm Hardee Comedy Awards at the Edinburgh Fringe, of course, are no exception to this You Can Never Be Certain rule.
But our ‘Act Most Likely To Make a Million Quid Award’ is, I suspect, likely to have a very high success rate. The winners so far have been:
2010 – Bo Burnham
2011 – Benet Brandreth (both as legal eagle and performer)
2012 – Trevor Noah
2013 – (no award given)
2014 – Luisa Omielan
2015 – Laurence Owen
A couple of weeks ago, I saw (again) Laurence Owen’s marvellous Cinemusical show and – my God! – we were absolutely right to give him the award.
Musical Comedy may be a rising genre. Let us hope so. There certainly needs to be something to liven up samey comedy club shows which have mostly become a procession of perfectly acceptable but unexceptional comedy clones spouting perfectly acceptable but unexceptional straight stand-up material. Or open mic shows with wildly variable acts mostly performing to other performers and no genuine audience.
Alternative Musical Comedy’s day may be coming. There is a video for Laurence Owen’s superb song Empowered on YouTube.
As is a video of journalist and ’new’ act Ariane Sherine’s Hitler Moustache – a song with which she wowed the increasingly prestigious Grouchy Club Live audience last week on only her sixth live performance (if you ignore her brief period treading the boards 13 years ago).
This could be the dawning of the age of Alternative Musical Comedy.