Category Archives: Comedy

An English and Japanese comedy show by an Italian and a Canadian in London 

I first met Katsura Sunshine back in 2017. He lives in Japan, the US and Canada and currently performs an ongoing monthly rakugo (Japanese storytelling) show  at the Leicester Square Theatre in London AND a regular monthly rakugo show at the New World Stages in New York.

A couple of months ago, I saw Sunshine’s London show, not for the first time. On that occasion he had, as his special guest, London-based Italian comic Luca Cupani.

They are together again at London’s Leicester Square Theatre this Sunday.

We talked on a Zoom call this week. Somewhat appropriately, given the multi-cultural and multi-national mix, Luca was in a hotel room in Milan, Sunshine was in a living room in Toronto and I was at the Soho Theatre Bar in London.

Luca (top left) with me (top right) and (bottom) Sunshine


JOHN (TO SUNSHINE): How long are your monthly London and New York shows continuing?

SUNSHINE: They’re both indefinite runs at least for the next year. I’ve just been talking to the Leicester Square Theatre about next year’s dates and the New York show has also been confirmed to the end of 2023.

JOHN: Two months ago, Luca appeared in your London show. He did rakugo (for the first time) and his stand-up; and you did stand-up (for the first time) and your rakugo.

SUNSHINE: It was a lot of fun, just like ‘appreniticing’ each other. Luca is teaching me stand-up and I’m sort-of teaching him rakugo.

JOHN: So how did Luca – an Italian – get involved in performing at London’s Leicester Square Theatre with a Canadian who does traditional Japanese storytelling in New York?

LUCA: Sunshine offered me the chance to be on stage and it felt like a crazy idea so I couldn’t say No. I am enjoying being out of my comfort zone. I’m already an Italian doing comedy in English in London, so I’m all for cultural cross-over.

SUNSHINE: I met Luca eight years ago at the Edinburgh Fringe and we’ve been friends for all this time. We’ve gone to see each other’s shows. When he told me he was going back to the Edinburgh Fringe this year for the seventh time – I’ve performed there four times… Well, I know how much it costs and the producer side of me said:

“Luca, to save money, just rent a West End or Broadway theatre and add that to your resume. Or, instead of that, just join me!  I’ve already got the theatre. I’ll put a kimono on you and we’ll turn it into a thing. It would be fun to do it together!”

LUCA: And it IS fun. I quite like the rules of rakugo. Okay, I cannot yet follow all of the rules but it’s fun to try to follow some of the basic rules. It’s very different from what I normally do and that’s why I like it a lot. You show yourself as being vulnerable and, even if you fail, it is still funny for the audience… I think!

JOHN: As I understand rakugo, there are set, pre-existing stories, so you are not able to script your own performance like in stand-up comedy?

SUNSHINE: Technically, you make up the first part and then you lead the theme of your made-up material into the scripted story which has been passed-down from master to apprentice through the ages. So the first part is a little bit like stand-up comedy and the big laugh is at the end. I think Luca’s perfectly comfortable with that except he has to kneel in a kimono.

JOHN: What was the most difficult thing about doing it?

LUCA: For me, kneeling down on the stage in a position which is not very comfortable, using the props in the correct way and remembering the basic rule that you look in two different directions to portray two different characters.

In stand-up, you usually talk about yourself and you are being yourself. In rakugo you have to create a story and sketch two characters very quickly and in a different style. That’s the most difficult. And the most fun.

JOHN: Sunshine, I think in the show two months ago that was the first time you had performed Western-style stand-up. What was that like for you?

SUNSHINE: At first glance, it seems like the same as the first part of a ragugo show, but the rhythm of stand-up is different: the laughs are coming much more quickly. When I was standing in front of the audience and talking in my usual Rakugo way, I sort-of felt the audience’s slight impatience more than I would have in storyteller mode.

But that sharpened me up a bit. 

I cut the material down; I cut words down. I got to more of a stand-up comedy rhythm. It was a great feeling and quite different to performing rakugo.

JOHN: And in the show this coming Sunday… ?

SUNSHINE: We will both do some (solo) stand-up comedy and both do some (solo) rakugo. Exactly the same format as before.

It was SO much fun last time. To have someone in the dressing room with me and exchange ideas about comedy and the different types of both stand-up comedy and rakugo. It was brilliant.

For me, presenting rakugo alone in New York and London… There’s a formality to rakugo. You’re in the kimono, you bow – there’s a lot of formality – and people don’t want to insult the culture. I always have to get the audience on board… This is comedy! You can laugh! Relax!

But when Luca and I walked out at the beginning of our dual show at the Leicester Square Theatre and the first half was each of us doing (solo) stand-up comedy, we had the audience going: WOOAAAHHHH!!

They knew the routine for stand-up comedy. You cheer or laugh your head off and the performers will give you all the better performance.

So leading into rakugo in the second half from a base of stand-up comedy which the audience already understood and could enjoy and relax with was a completely different experience. It was just so much more fun and easy to perform.

JOHN: Luca: did you learn anything from performing Japanese rakugo that you could use in your Western stand-up?

LUCA: The story I had was short but fun and it involved a lot of physical stuff. In rakugo, you use your face more often than I usually do when I talk. So I think it helped me to be more expressive. Also, if you know where you want to go, you can play a bit more in-between.

In stand-up, you need laughter all the way though. You ride on the energy of laughter, otherwise it doesn’t work. In a stand-up routine, you don’t always know where you’re going because you wait for the reaction from the audience. But, in rakugo, the set-up is way-way longer and you can prepare the audience, warm them up, play with pauses.

Last time what happened – and it wasn’t planned – was that, at the very beginning, when we introduced the show, we inadvertantly almost did some manzai which is another Japanese comedy form with two artists – one plays the smart guy, the other the foolish guy. Sunshine was smart; I was foolish. When we were talking to the audience and tried to warm them up, it became a sort-of improvised manzai that we hadn’t planned.

JOHN: And you will be performing together again?

SUNSHINE: I hope so. This is the last show of this year, then we’ll be starting up again next February, dates to be confirmed.

JOHN: Sunshine: how long has it taken you to get to this stage as a rakugo performer?

SUNSHINE: I’m in my 15th year. I started my apprenticeship in 2008 and it’s three-year apprenticeship – so 2008-2011. It’s basically indentured servitude.

I was with my master (Katsura Bunshi VI), no day off, for three years – cleaning his house, doing the laundry. You’re just with the master every waking hour for three years and you just watch and learn.

In 2011, I finished my apprenticeship so I’m in my 14th/15th year as a professional storyteller, which qualifies me as a master. I could take apprentices now, if I chose or if someone wanted to be my apprentice. So far, nobody’s come out of the woodwork!

JOHN: So, Luca, do you want to wash Sunshine’s laundry?

LUCA: I’m not comfortable with hair. I got rid of mine because I was tired of washing it.

SUNSHINE: (LAUGHING) He’s changing the subject!

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Why people really laugh at comedians…

Last month, I was interviewed by Dr Maria Kempinska, founder of the Jongleurs comedy club circuit, who was awarded an MBE for her contribution to British comedy. She is now a psychotherapist. I talked to her for Your Mind Matters, her series of hour-long chats on the Women’s Radio Station. This is a brief extract of what I said.

… Performing comedy is a bit like performing magic. It’s all to do with misdirection. In magic, you’re looking at the wrong place when, suddenly, something happens somewhere where you are not looking.

In comedy, you have the audience going along a storyline – even if it’s just a short storyline for a gag.

You have the audience going along a storyline for a gag. They’re looking in one direction. They know what’s coming next… they know what’s coming next… they know what’s coming next… and then suddenly, out of left field, from nowhere, comes the punchline… and they react to that in shock.

It’s like a big AAAAARRRRGGGHHHHH!!! But, instead of gasping, they go: “Ahahahahaha!” and laughter is a sort of release of tension. It’s a reaction to something unexpected that happens…

(The full interview is HERE.)

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The authors of “Mission Most Fowl” on comedy, publishing and their duck army

John Ryan (left) and Darren Hasler-Stott

Yesterday’s blog was a chat about the new children’s book Tag Tinsel – A Mission Most Fowl by a non-existent author, Ryan Hasler-Stott. 

‘Ryan Hasler-Stott’ is actually two people – comedy person and Teletubbies insert director John Ryan and electrician Darren Hasler-Stott…

The chat continues here…


ME (TO DARREN): So you’re still an electrician?

JOHN RYAN: He’s also a musician. 

DARREN: I used to be in a band. A bit of piano. Sang quite a lot. A sort of rock band. Singer-songwriter thing. It was a long time ago.

JOHN RYAN: Thing is Darren’s like a lot of people; like how I was.

He’s a guy with a regular job. He’s very creative. And where I differed was – with his support and others’ support – I went from the regular job and took the plunge. Whereas most people never take the plunge. So I kind of dragged him a bit to go with his creativity. We’ve just come at it from different angles.

ME (TO JOHN RYAN): You don’t totally play comedy clubs. You do the cruises… This is your 20th year entertaining on the cruise ships?

JOHN RYAN: Yeah. And I’ve done the military. Went out to Afghanistan to entertain the troops. Went all round the Middle East. I’ve done police conferences, prison projects – won an award – Best Documentary at the Scottish Film Festival. I’ve done a women’s prison – tough gig.

ME: …and, during the Covid Lockdown…

JOHN RYAN: My income went down about 85%. It will slowly come back. But you know, on the circuit now, headlining is about £50, £60. Whereas, ten years ago, it was £200, £250. It’s just that the power dynamic has changed completely. You’ve got a lot of promoters filling rooms up with 200, 300 punters, charging them £15 each and paying the acts £100. 

You’ve got so many comedy courses now, just churning out hundreds of comedians, which kind of lowers the base price that people will pay. And they just live off people’s dreams basically. Whereas before there was a career path. 

“Back then… you were a career comedian: well looked-after…”

Back then, if you were with the Jongleurs circuit, you were a career comedian: well looked-after, well paid, hotels, everything. Now there’s no Jongleurs. The Glee has stepped up a bit; Hot Water in Liverpool has stepped up a bit; Alan Anderson’s gigs have stepped up.

But, other than that, it’s hard to get weekends or regular work. 

ME: I don’t know Hot Water.

JOHN RYAN: They’re basically in Liverpool and they have come up with a new business model. They’re building a 700 seater. I’ve never worked for them, but they’re packing them out. They’re going up on the energy They’re on podcasts, social media, they do gigs, touring shows. Rather than going It’s Saturday night, people pay to come in and have a laugh tonight, they’re more about seven days a week and corporate stuff an all. The North West of England is the home of comedy in the UK at the moment.

ME: Why?

JOHN RYAN: I think a hungry dynamic. 

ME: I suppose Media City in Manchester might help.

JOHN RYAN: And the same with Scotland. There’s a nice little circuit up in Scotland.

ME: London’s still important, though.

JOHN RYAN: Well, again, you see down here is where you’ll meet people. Whereas maybe when I started we gigged to get gigs, now you meet people who have half a dozen gigs and they’ve got a CV and a lot of a management. Very driven. Very much like America.

ME: Traditionally, people went to perform at the Edinburgh Fringe to be spotted by industry people from London and…

JOHN RYAN: But, getting back to our book, we see it as one of seven.

ME: Is that because it’s a lucky number? Or something to do with Harry Potter?

It’s a lucky number? Or something to do with Harry Potter?

JOHN RYAN: Number 7. Eric Cantona. (LAUGHS)

ME: What age is your book aimed at?

JOHN RYAN: I guess for the young and the young at heart. I guess 10 upwards. It’s all about understanding that there’s mischief. There’s characters. They argue with each other. But they gotta get home in time for tea. Not going to get hurt.

ME: Could that not be boring?

JOHN RYAN: Doesn’t have to be. Kids nowadays – all this whole shoot-em-up and violence… There IS violence in there.

ME: Aren’t all stories about confrontations? Confronting situations or people.

JOHN RYAN: Yeah, it’s very confrontational.

ME: There’s a villain?

DARREN: Several villains. The main villain in the first book is a guy called General Thwackeray who’s the leader of the ducks. Then, in the other books, there’ll be other villains. 

Part of the action is set around the annual Eggs Factor competition, where the ducks have a talent show. So there’s a lot of side silliness going on. There’s a paddle maker who becomes a reluctant duck hero. All he wants is some cracked corn but he keeps finding himself at the front of all the duck activity purely by chance and continually gets promoted. But all he wants is to settle down.

ME: It’s selling well to kids?

JOHN RYAN: Most of the people who’ve bought it seem to be adults. 

DARREN: They love it. And a few people in Sweden for some reason.

ME: When was it actually published?

JOHN RYAN: July 7th this year?

ME: Self-published?

JOHN RYAN: I spoke to two publishers who liked it and they were very interested and offered us the glorious sum of 7%. Net. So I said, “Okay, and do we do anything?” 

They said: “You do your publicity, your PR, your marketing.” 

ME: They weren’t going to do anything themselves?

Traditional publishing is not a green and pleasant land… (Image by Mystic Art Design via Pixabay)

JOHN RYAN:  No. Not until it gained traction. And we’re talking established publishers. So we thought: We’ll self-publish, get some traction. We’ve got a couple of animation production companies sniffing around with a view to turn it into… Well, we would like it to be a feature film. Maybe a TV series, but it lends itself very much to film because each character has a backstory. 

Because of the nature of it, because it’s comedic, no one’s allowed to get killed. So we’ve got a team of superheroes who don’t kill anyone.

The main thing about the story though, is that it’s a stand-alone. There will be seven stand-alone stories. The next one basically involves a couple of penguins. They are childless and they find what they think is an egg. They think it’s an egg – a gift from heaven – because it fell from the sky. But it’s actually a nuclear timer.

ME: Have you got an elevator pitch?

JOHN RYAN: We have a mighty duck army hell-bent on taking over the world. The only thing standing between them and world domination are a team of…

DARREN: …misfits.

JOHN RYAN: Yeah. Wind in the Willows meets Dad’s Army,.. 

ME: The Dirty Dozen with ducks?

JOHN RYAN: It’s a harmeless, mischievious adventure of what we would have seen on Saturday morning cinema back in the day. It’s basically about how you overcome obstacles by working together. Just a glorious romp.

ME: …with ducks.

JOHN RYAN: With ducks and crazy characters. And badgers.

DARREN: Yeah. Badgers are like…

JOHN RYAN: …jobsworths.

DARREN: They know all the rules.

JOHN RYAN: They issue the permits.

DARREN: Our four genetically-modified characters are our superheroes and then Waldo, who’s a bee, they kind of pick-up along the way.

JOHN RYAN: He’s basically been kicked out of his hive for being annoying.

ME: Is he based on anyone?

JOHN RYAN: Sort of loosely based on us, really… Me. An annoying, buzzing feller. 

ME: Oh, come on now!

JOHN RYAN: The thing is I don’t socialise with comics. My social network is mostly people like Darren, who are what you could call ‘real people’.

It’s an interesting game I challenge all comics to do. Go through your WhatsApp messages, look at the last 5 or 10 people you’ve contacted. See how many are NOT comedians. Because then you’ll see where your friends are. I think you have to maintain your feet in the real world. Most comedians live in an abstract world surrounded and reinforced by other comics. Consequently, they don’t understand why they can offend or upset people.

We are all about inclusivity.

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The making of The Comedians’ Choice Awards at this year’s Edinburgh Fringe

I have mentioned the Malcolm Hardee Comedy Awards in the last couple of blogs. The actual trophies were designed and made by mad inventor John Ward who is particularly keen (via an email this morning) that I mention he lives in or near Moulton-Seas-End in Lincolnshire.

If you go to Wikipedia, you will find there is an article on Moulton-Seas-End currently illustrated with  a sole photograph (below).

John Ward clearly is, indeed, a man out standing in his own field.

Moulton-Seas-End, home of John Ward  (Photograph supplied by Kate Jewell via geograph.org.uk)

I suspect he may be trying to drum up tourist trade for Moulton-Seas-End, which is nowhere near the sea.

Having established specifically where he lives, onwards more generally to this year’s Comedians’ Choice Awards.

These, like the Malcolm Hardee Awards, are currently organised by the British Comedy Guide with trophies designed by John Ward but, in this case, there is sponsorship from London’s Museum of Comedy.

The Comedians’ Choice Awards were founded in 2014 and aim to help highlight “the amazing work of those at the Fringe who may well otherwise go unrecognised, as judged by those who understand their efforts the best: their peers.”

Every comedy show at the Edinburgh Fringe is eligible to both cast a vote and to be voted for.

There is no panel of judges, no industry specialists. The performers themselves decide who wins. Voting is conducted during August via an online form administered by the British Comedy Guide.

The Comedians’ Choice Awards are presented in three categories:

BEST SHOW at the Fringe.

BEST PERFORMER – The best individual comedy performer at the festival.

BEST PERSON – “A person who the voter feels should get recognition for their contribution to this year’s Fringe. This does not need to be a performer; it can be anyone associated with the comedy industry at the Edinburgh Festival Fringe, from reviewers to producers and venue staff.”

The Best Performer and Best Show winners and the Best Show shortlist nominees get invited to take part in a special Comedians’ Choice showcase season at London’s Museum Of Comedy in October.

This year, as a bonus, streaming platform NextUp Comedy will also record some of the Museum Of Comedy nights, with the performer receiving a revenue share.

The actual trophies, as I said, are designed and made by John Ward, who lives in or near the village of Moulton-Seas-End in Lincolnshire. He tells me:


John Ward, from Moulton-Seas-End, with the original Award

Before the Covid, if you recall we met up at Milton Keynes with the then ‘new’ Award that – unbeknown to me at the time – was then given in three classes and not one as I first thought.

Trying to replicate that one this year has been slightly chaotic… Since the Covid malarkey, things have been a bit fraught in acquiring the same materials in the making of.

The materials that went into making that Award are not readily available nowadays – blame the Ukraine business, the 3 Day Week, fluoride in toothpaste, wotever.

John Ward, resident of Moulton-Seas-End, crafting an Award

The new design is more handy for standing on a bookshelf, fireplace or to use as a door stop.

It’s in a mask configuration with the now standard ‘red nose’ being central, with a slanted ‘comedic eye’ on one side with the Comedy Guide emblem opposite making the twin ‘eyes’ as such with raised eyebrows.

The ‘grinning’ mouth has been chiselled out and filled with red ‘sparkly ripple’ type finish inserted and is not symmetrical but, as you look at it, there is a small curl on the left hand side at the top of it.

It is secured to the base with twin screws and a central wooden dowel so, in theory, there is not much chance of it falling apart… but, then again, they said the Titanic was unsinkable..

I have made nine of these: three for 2021 to give to the winners from then, three for this year 2022 and three for next year 2023, with each year being designated its own colour scheme.

The colours per year are: Gold, Silver and Bronze. This year, for 2022, it’s Silver.

Three years’ worth of The Comedians’ Choice Awards


THE COMEDIANS’ CHOICE AWARDS

2022 WINNERS

BEST PERFFORMER

Jordan Gray …performing in Jordan Gray: Is It a Bird?

Sharing the news on social media, Gray said: “This means EVERYTHING to me.”

BEST SHOW

Rob Copland: Mainstream Muck (Gimme Some of That)

In a nod to his unconventional show, when asked what it felt like to win, Copland supplied this statement: “\m/”.

BEST SHOW SHORTLIST

Ali Brice: I Tried To Be Funny, But You Weren’t Looking
Chelsea Birkby: No More Mr Nice Chelsea
Colin Hoult: The Death of Anna Mann
The Delightful Sausage: Nowt but Sea
Elf Lyons: Raven
Luke Rollason: Bowerbird
Siblings: Siblage
Shelf: Hair Stuart Laws – Putting Zoo

BEST PERSON

Martin Willis

He is managing director of show production company Objectively Funny. The company also produces and distributes the Small Book on Mental Health at the festival, to support performers.

Martin Willis said: “It is a massive honour to win an award like this, one that’s voted for by people involved in shows here. It means the world to be recognised by a community that I care so dearly about, and I’m incredibly grateful.

“That being said, it cannot go unmentioned that in the history of this particular award the winner has always been a man. That fact speaks both of the demographics of the voters but also of what we actually see from behind the scenes. For an industry that is historically male-dominated onstage, there is a vast array of brilliant women that have made so much work possible in so many ways – technicians, producers, agents, venue programmers and people that do whatever job needs doing with care and gusto.

“I would like to accept this award on behalf of the Objectively Funny team that has worked so hard to make excellent things happen at this festival: Ellie Brayne-Wyatt, Maddy Bye, Kathryn Higgins, Olivia Phipps and Lois Walshe.”

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This year’s Malcolm Hardee Awards: It all ended in tears and a fight by a bus.

Highly unlikely to ever want to rest in peace…

Yesterday’s blog was about the travails of this year’s Malcolm Hardee Awards Show at the Edinburgh Fringe. The show was cancelled on the day (by the Award organisers) at The Counting House venue and then suddenly moved to another venue, Bob Slayer’s Blundabus: a double-decker bus. No reflection on the highly-esteemed Counting House.

Yesterday’s blog sort-of encompassed my philosophy of organising things… 

Anything that CAN go wrong WILL go wrong. 

And anything that cannot possibly ever go wrong WILL STILL go wrong.

The best thing is to prepare everything in advance to the last detail, organise everything with fallback positions and then, when the whole thing suddenly starts to go arse-over-tit despite all that, it is easier to manage the new chaos caused by one single unexpected disaster than have to sort-out this new and impossible-to-predict problem AND all the sundry could-have-been-foreseen-and-planned-for potential multiple problems.

You should plan for the foreseeable-knowns; you can’t plan for the unforeseeable-unknowns.

Malcolm Hardee also had a philosophy about First World problems: 

“Fuck it! It don’t matter do it? There are people starving in Africa. Not all over though. Round the edge – fish.”

I am in London. Three people have told me anonymously what happened in Edinburgh on Friday night/the early hours of Saturday morning .

One person, who had arranged to see the 11.30pm show at The Counting House with a group of people from London said: “I saw that the show had been cancelled and assumed that was the end of it. Wish I’d known that Bob had stepped in. Small venue though.”

Someone else, comic Giacinto Palmieri (who actually attended the re-scheduled 01.00am Blundabus presentation), opined: “A show that was so alternative that there was no show… Malcolm Hardee would have appreciated that.”

Apparently the awards were announced from a small stage in front of the double decker bus. When Jerry Sadowitz was announced as winner of the ‘Act Most Likely to Make a Million Quid’ Award, there was, I’m told, “a noticeable but small Boo! from the crowd”. 

After the Awards, a vivid verbal contretemps then ensued between two of the people involved in the show which, it seems, can best be described as a non-meeting of minds between, on the one side, ‘very tired & emotional’ and, on the other, ‘very irritated and Woke’. It all ended in tears, as such things are prone to do.

In yesterday’s blog, I wrote that an email sent to me at 02.59 on Saturday morning told me: “The news announcement (of the Award-winners) might be a little delayed… One bit proved quite controversial, so the judges are going to need a chance to decide on the wording first.”

It turns out this referred not to the decision on winners of the Awards but on the wording of the press release mentioning comedian Jerry Sadowitz. 

The press release was eventually issued yesterday afternoon. Here it is (I have added pictures):


For immediate release

MALCOLM HARDEE AWARDS 2022 RESULTS

The results of the Malcolm Hardee Awards 2022 have been announced during a ceremony at the Edinburgh Fringe.

The awards – handed out in the memory of comic, agent, manager, club-owner and prankster Malcolm Hardee – celebrate and promote the spirit of anything-goes comedy anarchy at the Edinburgh Festival.

This year’s winners are:

COMIC ORIGINALITY

Two thirds of The Flop: Dan Lees (left) and Cammy Sinclair (Photo: Stephen O’Donnell)

The Flop: A Band Of Idiots (Dan Lees, Tom Penn, Cammy Sinclair)

Comedy trio The Flop – Dan Lees, Tom Penn and Cammy Sinclair – performed their show at The Banshee Labyrinth at 10:10pm between the 6th and 20th August.

Their brochure blurb explains: “60 minutes, 12 notes and three idiots. Musical mayhem and expert clowning from the greatest band in the whole world… ever.”

Mr Chonkers was also nominated in this category.

Ivor Dembins without Edinburgh Council’s rubbish men (Photograph: Stephen O’Donnell)

CUNNING STUNT

Ivor Dembina

The 2022 Cunning Stunt prize goes to comedian Ivor Dembina, for his reaction to the Edinburgh bin collection strike, promoting the growing piles of uncollected rubbish as performance art.

 

ACT MOST LIKELY TO MAKE A MILLION QUID

Sadowitz: offensive future millionaire?

Jerry Sadowitz

Originally scheduled to play just two shows at the Pleasance’s EICC venue as part of his national tour Not For Anyone, cult comic and former Hardee protégé Sadowitz made national headlines when his show was unceremoniously axed after its first night, with Pleasance claiming both “[we are] a venue that champions freedom of speech and we do not censor comedians’ material,” and “the material presented at his first show is not acceptable… this type of material has no place on the festival”. Coherent, much?

Judges explained: “Ironically, after being cancelled, Sadowitz is seeing a huge increase in ticket sales for the show’s tour, and is now adding a date at the 3,600+ seater Hammersmith Apollo in November.

“The Million Quid is getting closer for the most unlikely of reasons.”

*** *** ***

The usual, anarchic awards show was not able to take place this year, but a results ceremony was held at Bob Slayer’s infamous BlundaBus venue at 1.00am this morning.

The winners each receive a specially made trophy designed by inventor John Ward.

This year’s judging panel was Marissa Burgess, Kate Copstick, Bruce Dessau, Jay Richardson, Claire Smith and Ian Wolf.

The Malcolm Hardee Awards have run since 2005, the year of Malcolm Hardee’s death. They ended in 2017, however having been ‘much missed’ at the 2018 festival, they have now been revived by British Comedy Guide, with the blessing of original organiser John Fleming and the Hardee family.

Find out more about the awards and previous winners at:
https://www.comedy.co.uk/hardees/

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Malcolm Hardee Comedy Awards at the Edinburgh Fringe – organising anarchy

ITV’s Tiswas – Good clean family fun

I was a researcher on the final series of anarchic Saturday morning ITV children’s show Tiswas. It had been going for years at the point and everything ran fairly smoothly. It was broadcast live usually for 2-3 hours. I remember at least a couple of the live shows ran for 4 hours. I think the series I worked on ran for 39 weeks of the year. 

Because it was allegedly for young-ish children (and university students) all the items were very short because of their short attention span. The only long items were cartoons (about 7 minutes long) and live pop songs (about 3 minutes).

Everything else tended to be I guess no longer than around 30 seconds. 

On a live TV show – with guests, children, rock bands, cameras and crew in the studio, with anarchy being the format and with water, custard pies, electric cables and people moving all over the place all the time on the studio floor – this was a recipe for disaster.

The trick was to have one meeting early in the week with representatives of all the technical and editorial departments involved to pre-spot potential problems… and an editorial meeting late in the week to iron out the detailed practicalities.

One week, at one of these meetings, the producer lamented that everything ran far too smoothly on-screen. It was an ‘anarchic show’ but so well-planned that nothing ever actually went too wrong. How could we add in some genuinely unplanned chaos?

The answer was, really, that we couldn’t. Because the only way to run anarchy on stage or in a TV studio is to plan it carefully in advance, with fall-back positions, and then fly by the seat of your pants. You plan for as many possible contingencies as you can and then it is easier to cope with the ‘impossible’ things that actually happen on the day.

Which brings us to the Malcolm Hardee Comedy Awards at the Edinburgh Fringe. I used to run them but no longer do – so, when things go wrong, I can comfortably sit back in London and observe from afar.

(L-R) The 2022 ‘Million Quid’, Comic Originality and Cunning Stunt Awards, designed by John Ward

The format is that there are (over the years) 4-6 judges who decide on three Awards – Comic Originality, Cunning Stunt and ‘Act Most Likely to Make a Million Quid’. In the past, the Short List of nominees was announced around Tuesday of the Fringe’s final week and the Awards were decided by the judges at Friday lunchtime, then announced and presented during a live 2-hour stage show just before midnight in the ballroom of The Counting House venue, which is part of the Laughing Horse Free Festival.

This involved me getting a taxi down to Leith as soon as the winners were decided… to get the names engraved on the three Awards… and rushing down again around teatime to collect them before the evening show. Meanwhile, acts for that night’s show would be dropping out or changing arrival times or causing creative chaos in sundry ways. 

During the show, acts would also not arrive at all or arrive an hour late or whatever. It was like juggling spaghetti. (Another thing I occasionally included in the show.)

Oh the joy of it all…

The ballroom had a 150 seating capacity and we got in trouble one year because too many people had been standing round the edges of the 150 seated audience. The fire regulations did not allow this.

The next year, we had officials counting numbers in and out of the room. With all seats occupied, no-one was allowed in unless someone went out. This meant, if you went out to the toilet, you might not be able to get back in again. I did wonder if some people just ‘did the necessary’ in situ rather than leave. If so, I suspect Malcolm would have approved.

Action-packed Russian Egg Roulette at the 2012 Awards

The live show was a Hardee-esque variety show of bizarre-as-possible comedy acts plus, in later years, a competitive Russian Roulette contest with eggs (organised by the World Egg-Throwing Federation) in which comedians smashed eggs against their forehead in a knock-out contest to find out which was the sole hard-boiled egg. It was messy.

I never booked the nominees or upcoming winners of the Awards to perform in these variety shows in case their acts were so bizarre the audience hated them…

I stopped organising the Awards in 2017 after ten years. 

There were no Awards in 2018 because I couldn’t find anyone to take them over – and nor could a top UK PR who tried to find sponsors for them.

They returned briefly in 2019 organised by the British Comedy Guide and then, of course, Covid hit. So there were no Awards in 2020/2021 although, in 2021, when there was a sort-of Edinburgh Fringe, Will Mars was given a Cunning Stunt Award.

The Awards re-started ‘properly’ this year, with the Edinburgh Fringe re-emerging from Covid.

The winners were due to be announced last night (Friday) during a live show in The Counting House at 11.30pm.

I am totally uninvolved in the Awards now but, as a courtesy, I am kindly kept in the loop by email, so I know roughly what is going on. 

On Thursday evening at 21.28, there was talk of cancelling the Friday show because “it wasn’t felt there were enough original acts here to put on a show and we’ve left it a bit late to organise a good show even if there were… (We) should be sending over the results and pictures that you can use in your blog first thing tomorrow”.

And, indeed, yesterday, Friday, the Counting House show was cancelled and moved to the upper level of former Award-winner Bob Slayer’s Blundabus venue (a double-decker bus), to start after midnight, around 01.00 .

I woke up this morning to an email sent at 02.59 telling me: “The news announcement (of the Award-winners) might be a little delayed… One bit proved quite controversial, so the judges are going to need a chance to decide on the wording first.”

Around 15.10 this afternoon, the Awards were finally announced: 

COMIC ORIGINALITY: The Flop.

CUNNING STUNT: Ivor Dembina & the Edinburgh bin collectors.

ACT MOST LIKELY TO MAKE A MILLION QUID: Jerry Sadowitz.

The phrase “in light of the present unpleasantness” has been used on Facebook.

At the time of posting this blog, I know no more that you, dear reader.

I suspect more will follow in a further blog… AND IT DOES, HERE


Malcolm Hardee drowned in 2005. Karen Koren of Edinburgh’s Gilded Balloon venue produced this tribute at the time…

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Bye Bye Baby: Hello thrills and comedy and two new British movie talents…

Recently, for the third year, I sat through (most of) the annual London Film School graduates’ short film screenings.

This year, I saw the best film I have seen in those three years – Bye Bye Baby. It was a joy.

Jessie (left) and Maria in London’s Soho…

So I had a chat with its writer/director – Jessie Barnett – and its co-writer Maria Pawlikowska, who also played the part of Jemima, a pill-popping housewife, in Bye Bye Baby.

Embarrassingly, one of the few films I missed at the screenings was the one Maria had directed – So Far So Good.

I have since seen it.

I was equally impressed.


An appeal for a “coming-of-age bloodbath” on Kickstarter

JOHN: Jessie, I stumbled online on a wonderfully enjoyable Kickstarter appeal for Everyone Wants to Kill Me which was going to be your graduation film. It was billed as “A coming-of-age bloodbath”.

JESSIE: Yes, we changed the idea.

MARIA: Everyone Wants to Kill Me was before my time, but we started working on that script together. Then we gave up because it was such a big number and there were about a hundred extras for this idea.

JESSIE: It became Strawberry Fields after that.

MARIA: …a virgin sacrifice movie.

JOHN: So Bye Bye Love started as a slasher movie, then became a virgin sacrifice movie and then ended as… How do I describe Bye Bye Baby without giving away what happens towards the end? “The heroine goes a bit looney and there’s blood involved”?

JESSIE: She has a quarter-life crisis, I would call it.

JOHN: At the beginning of the film, there is a caption saying it is based on…

JESSIE & MARIA (TOGETHER): …real insecurities.

JESSIE: I’m from North London. The North London bubble. It’s a very high-pressure community. Competitive. Get married young.

MARIA: Keep up with the Joneses.

Bye Bye Baby – billed as “A Killer Party”…

JESSIE: Yes. Keeping up. And I was going through this phase during Covid where I was single and depressed and unemployed and a lot of my best friends were getting married. I was only 24 and they were 24 too and I’d have to constantly go to these stupid ‘bridal showers’ and ‘baby showers’.

JOHN: What’s a bridal shower?

JESSIE: You don’t know? It’s a global thing. They do it in the UK a lot.

JOHN: I’m very old. We didn’t have them in the 19th Century.

JESSIE: I had to leave one because I had a panic attack and I had to go to Maria’s flat and I told her: “I don’t know why I’m reacting like this. It is so ridiculous. But I’m reacting so badly to all of this and I feel so angry.”

JOHN: Ah! I can see the Bye Bye Baby link.

JESSIE: I had been brought up a certain way.

JOHN: What way?

JESSIE: Once you get to 25, then you marry, have a family. I didn’t want that. I had a panic because I felt all my friends didn’t understand me. My friends from the world I had grown up in. I felt they didn’t take me seriously. They are all amazing people and I love them now. But it was just one of those moments: They don’t care what I care about. And it looks like I’m doing something wrong because I don’t want to co-operate. That’s what I felt.

JOHN: Why were they not treating you seriously? Because you were in the Arts and they weren’t?

JESSIE: It was all in my head. You just feel like you’re behind. They’re all getting married and doing all the things we’ve been told are the right way to live your life… I felt a bit lost.

MARIA: That’s how I felt too.

JOHN: But your family is already arty-farty so they must understand you.

MARIA: Well, my dad is a film director, but he is embarrassed about it. Mortified that he’s not a doctor or that I’m not a doctor. It seemed like every day I was told: “How nice it would be if you ended up being a doctor…”

I was supposed to be a doctor.

JESSIE: I guess we wrote the original script sort-of as a joke to let off steam then thought: No! There’s something in this!

JOHN: There’s humour in the film. You have the same sense of humour? 

JESSIE: Yes.

JOHN: Dark humour?

MARIA: Yes.

JOHN: Maria, your own film So Far So Good is a gangstery thing, so it’s necessarily dark.

MARIA: Very dark. It’s funny, but it’s not a comedy. There are some moments.

JOHN: And, Jessie, you’re doing comedy and violence too.

JESSIE: Yes, definitely. I want to definitely focus on that. Definitely, moving forward. Especially comedy.

JOHN: Would you do a comedy-comedy movie?

JESSIE: Maybe. But usually comedy with something else.

JOHN: Are you interested in doing comedy with horror and violence? Or horror and violence with comedy?

JESSIE: Both.

MARIA: Obviously both.

JOHN: And you are interested in…?

MARIA: I’m interested in… I think my stuff is less funny than Jessie’s. I’ve done three and none of them are (pure) comedy.

JESSIE: And a very different type of comedy, I’d say. More nuanced. It’s not in-your-face.

MARIA: Very different from Bye Bye Baby, which was just pushing as far as it would go.

JOHN: Pushing in which way?

JESSIE & MARIA (TOGETHER): To the extreme.

“…with Bye Bye Baby, we did get away with a lot…”

MARIA: Just because you have a good joke doesn’t mean it should go in. Often, joke-joke-joke-joke doesn’t actually amount to a good film. In my stuff, there’s always something else going on, so you have to be very careful with the jokes. Whereas, with Bye Bye Baby, we did get away with a lot.

JESSIE: Yes! Though we did cut a lot of jokes… and we cut out a lot of horror.

“There was much more horror involved…”

There was much more horror involved.

There was this whole scene with the girl who gets her head smashed with a bottle… She wakes up and then there’s this last fight and Rosie finds the e-cigarette and stabs her in the throat with it… Blood everywhere…

And then the woman who owns the home comes back; that was going to be another murder. There was a quick strangle; a quick break-neck.

JOHN: Neither of your films are pure comedy. What’s the quotable synopsis of So Far So Good?

MARIA: It’s about a Bulgarian girl who is hired to honeytrap a juror during a trial and she starts to fall for him and is unsure of what to do. I love film noir and I love femmes fatales and always wanted to do a story from the perspective of a femme fatale. 

There’s a lot of absurdity and humour that comes from this clash of worlds. This very English, sweet software developer who is honeytrapped by this exotic bird.

JOHN: You both always wanted to go into the film industry?

MARIA: Well, I didn’t want to go into the film industry. I was a theatre nut. I was the same as Jessie; a musical theatre freak. I just wanted to go to Jacques Lecoq in Paris and I wanted to sing. I had my band. 

JOHN (TO JESSIE): You were a musical theatre freak?

JESSIE: Very much so. I actually went to the Sylvia Young Theatre School. I wanted to be ‘in the West End’ as a performer but, y’know…

JOHN: Family background in showbiz?

JESSIE: No. I guess my uncle was once an actor.

JOHN: You guess?

JESSIE: He was, but it didn’t go anywhere. He almost made it in New York and then it just got too much, the acting industry.

JOHN: The people?

JESSIE: The people. The environment.

JOHN: Why did you both go to a film school, not just try to get jobs straight into the industry and work your way up?

MARIA: I was already working in the film industry before. I did English Literature at university and then I was working in film for a couple of years as the development executive for a producer. Then I made my first short A Little Death. 

I was born into it. My dad is a film maker: a writer-director. So I tried NOT to make films.

JOHN: Your university was…?

MARIA: Cambridge.

JOHN: You said that with a tinge of embarrassment.

MARIA: Because it’s very embarrassing. I did English and did all the theatre stuff and I was really into it and film happened kind of by accident.

JOHN: You didn’t go into Theatre because…?

MARIA: The thing that I found really difficult about theatre, especially here, is that you really seem to have to have ‘permission’ to do stuff. You can’t just walk into a room and put-on a play. With a film, you can literally just go out and make a film.

JOHN: Can you?

MARIA: If you shoot it on an iPhone.

JOHN: With theatre, surely you can just rent an upstairs room in a pub and put on a play?

MARIA: I suppose. But I think theatre is very cliquey. You need to be in the ‘in crowd’. I just felt alienated from that whole world. At university, obviously, there were a lot of cliques and, let’s say, children of big names. It all felt like a mini-real-world.

JOHN: Were you in The Footlights at Cambridge?

MARIA: I was a Footlights princess.

JOHN: Yer wot?

MARIA: There’s a Footlights panto every year. People take it very seriously. I remember causing a bit of a stir: Who the fuck gave THIS girl a lead roll? 

JOHN: Which panto? 

MARIA: The Princess and The Pea. I was the princess.

JOHN: Who was the pea?

MARIA: It was just a pea.

Cambridge Footlights’ production of The Princess and The Pea

JOHN: So you had a family background in film and, after university, you were IN the film industry… So why the hell did you decide you had to go to a film school?

MARIA: You really have to LEARN how to make films. 

JESSIE: And I felt I needed to learn a lot too. I’d worked on adverts and event videos before film school. I was working as a video editor and just decided I really wanted to make films and I thought: Now’s the time to do it while I’m still young.

MARIA: I’d done costume and running and production assisting and whatnot.

JESSIE: And I felt I needed to learn a lot.

JOHN: Now that’s in the past. You, Jessie, have started Jessie B Films… Is that both of you?

JESSIE: Currently yes.

MARIA: We want to start a company that’s just the two of us, but we need to come up with a name ASAP.

JOHN: ASAP Films. There you are. 10%. Are you actively working on scripts together again?

MARIA: I’ve got this film that I’m obsessed with. There are funny elements, but it’s not a comedy. It’s a horror romance set in Mexico.

JOHN: You should get finance for that. They love a bit of blood in Mexico.

MARIA: Jessie has also come up with this idea for a very morbid rock musical. We are constantly concocting.

JESSIE: Always, always.

MARIA: She needs to write songs. She’s a real songwriter. She wrote all the songs in Bye Bye Baby (except the title song).

JESSIE: They were meant to be trashy pop songs. Not the score. 

MARIA: No. The pop songs that play diegetically in the scenes.

JOHN: Die-a-wot? I should have gone to film school. I feel emasculated.


Jessie Barnett’s current director’s showreel is on Vimeo: 



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What UK comedy ‘Godfather’ Malcolm Hardee thought of Jerry Sadowitz…

Jerry Sadowitz’s Edinburgh Fringe show and his upcoming, now fast-selling-out UK tour…

As the Jerry Sadowitz row at the Edinburgh Fringe is still rumbling on (see my previous three blogs), below is an extract from the late Malcolm Hardee’s autobiography I Stole Freddie Mercury’s Birthday Cake.

Jerry in Malcolm Hardee: 25 Years in Showbiz, a 1990 variety show I produced for Noel Gay TV/BSB

Note: This book was published in 1996 and, despite several heads-ups and complaints over the years, amazon.co.uk still has the book listed with a totally irrelevant description from someone else’s academic book page.

I imagine Malcolm would have approved.

Note also that, at the time the book was written, Jerry had a tendency to randomly bill his name as both Jerry Sadowitz and Gerry Sadowitz.

You can’t keep a good anarchic comedian down.

So, what Malcolm said in his 1996 autobiography…


Malcolm Hardee’s autobiography

The most talented performer who never made it is probably Gerry Sadowitz, because he is a genuinely gifted magician-comedian. I recently read Alexei Sayle quoted as saying he thought Gerry was the only current comic genius.

*** *** ***

The first time I delved into management was with Gerry Sadowitz and, like most managers, I was also his agent, although he did get some bookings from other agents.

I first saw him when he came down to The Tunnel Palladium. His act was brilliant. A breath of fresh air. He just launched into a tirade of abuse.

This was at a time when, to be considered funny,  all an alternative comedian had to do was to say that Mrs Thatcher was horrible and Barry Manilow had a big nose – which is itself a Gerry Sadowitz line. 

Gerry came on stage at the Albany Empire in Deptford, which had an extremely ‘politically correct’ Arts Centre audience. And he started his act with: 

“Nelson Mandela. What a cunt!” 

But you had to realise he was deliberately doing it to upset that particular type of audience. And they WERE upset. He was on for two nights and, on the second night, they picketed the place. It was all water off a duck’s back to Gerry. I never knew if he really meant half of it or not. He is a very complex character, to say the least.

When he’s good he’s very, very good, but he gets black moods. A year ago, I saw him for the first time in ages in a curry house in the East End, which I’d introduced him to years ago. He came in with this woman and just didn’t speak. He looked at me and went: 

“Ugh!”

He just grunted and sat down. Another time he might go: 

“Oh! Malcolm! Hello – How are you?” 

Very strange chap. 

He doesn’t drink.

Sometimes, he’d do a really good show and come off stage in a really horrible black mood. Another time he’d have one of the worst reactions ever and he’d come off and be as happy as anything. I think he hated success, really. I had to almost pull him out of cars onto the stage sometimes. He refused to go on loads of times and his later agents Avalon had the same problem with him. 

Once, in Edinburgh, he was asked to perform five minutes on the Pick of The Fringe programme on BBC TV Scotland. Michael Leggo was directing it. I hadn’t met him since we were childhood neighbours in Lewisham. When I turned up, Arnold Brown was remonstrating with Gerry, who was refusing to go on. We cajoled him and threatened him and, in the end, he agreed to do it only if he could do what he wanted because he was obviously going to be heavily censored. They filmed his act with the Cunts and Fucks and everything in, then edited it with beeps. The result was like watching Gerry Sadowitz but listening to jokes in Morse Code.

The first year I took Gerry up to Edinburgh, his advert in the Fringe Programme was something like: 

GERRY SADOWITZ – GLASWEGIAN COMIC MAGICIAN.

A MAN WHO’S HAD HIS ACT 

COMPLETELY RIPPED-OFF BY BING HITLER.

Bing Hitler was the stage name of Craig Ferguson

Gerry had told everyone about Bing Hitler ripping-off his act and I quite sincerely believed it. 

Craig Ferguson was up there in Edinburgh, being represented by Vivienne Clore, a big high-powered agent who later became my agent. Craig wanted to sue the Fringe Society and Gerry for libel, which meant I was going to be sued because it was me who’d put the advert in. As I dug deeper into it, I couldn’t find one example where Craig Ferguson had actually nicked any line. 

They’d started off at around the same time at the Tron Theatre in Glasgow and, at the time, Craig Ferguson was doing witty songs on the guitar. Possibly Craig was influenced by Gerry’s style and started doing things where he said: I hate this… and I hate that…. but that was as near as it got. 

Craig Ferguson had a record out as Bing Hitler and there wasn’t one line of Gerry’s on it. He would have won his case but what was decided in the end was that the Fringe Society fined Gerry and he didn’t get his Fringe Club ticket money, which upset him greatly. I think it would have been about £1,500. 

I arranged a meeting between the two of them at which Craig said he didn’t do it for the money and he agreed to give the money to a charity of Gerry’s choice.

I took Gerry up to the Edinburgh Fringe twice. He’s a Glaswegian, so he hates Edinburgh because of that. Or, at least, he feels and sounds Glaswegian. 

He was actually born in America and has an American passport. His dad was an American who split up from Gerry’s Glaswegian mother. Gerry came over to Glasgow when he was very young and later said he had hardly any schooling because he had a serious medical condition which he insisted was coprophilia. He spent a lot of time in hospital, which is where he started to learn magic. He spends hours and hours perfecting magic tricks. He’s written books on it and writes for a monthly magic magazine about new tricks he’s invented. He’s a very clever bloke. 

He was very difficult to handle but I stayed with him because he was so good and everyone wanted him. There was a point where the phone didn’t stop ringing but a lot of the time he wouldn’t do the work. One day it would be because he wasn’t offered enough money; another day he’d travel the length of the country for next-to-nothing.

It didn’t make any sense. 

Once, before he’d become high-profile, I had a phone call from Sheffield University and they were offering him £300 for a show, which was good in those days. Most comics were going out for £100. He asked if it included travel or accommodation but it was an ‘all-in’ fee and he said: 

“No! I’m not doing it!” 

About two hours later, Sheffield Polytechnic rang up and offered him £200 plus travel and accommodation. In those days, travel and accommodation came to £40-£50. I phoned him and he said: 

“I’ll do it!” 

So he accepted the £240-£250 and turned down the £300. 

The amount of money wasn’t the most important thing. They could have offered him £3,000, I reckon, and he’d have turned it down if it meant he had to get on that train and fork-out money for his own ticket and sort out some accommodation. He had a syndrome where small amounts of money seemed an enormous amount, but enormous amounts didn’t mean anything. 

There was a point in his career where he was earning a lot. He earned £6,000 for one Avalon gig at the Clapham Grand, got paid in cash, was in the car with the bloke from Avalon, driving back and the car broke down. The bloke from Avalon asked Gerry if he’d lend him the £12 cab money to get home and Gerry wouldn’t lend it to him. He had £6,000 in his pocket that the bloke had just given him. But the £12 seemed like a lot of money to Gerry.

One of the unsettling things about him was he didn’t seem to know the difference between night and day and he’d ring me up at 4.00am to say someone had nicked one of his lines. 

He was also a very male-orientated comedian with much of his material being deliberately misogynistic. He once told me he wanted to play to an audience full of men and I said he probably would do if he ended up in Nick. He wanted to fill Wembley Stadium with men. It was just one of his ideas. He also wanted to do a show where the audience didn’t pay to get in: they just all brought him presents. I thought that was quite a good idea.

He was never unbookable in live venues. There were always people willing to book him. But on TV he was said to be unbookable. Eventually, he did get his own TV series, but it didn’t work. The whole thing about Gerry was the shock and the outrage, which you can’t do on TV – not to the level he did on stage.

(…SORT-OF CONTINUED HERE… What happened when I produced The Last Laugh with Jerry Sadowitz, a one-off  TV comedy special…)

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President Obonjo on the Pleasance’s dangerous Edinburgh Fringe decision

Benjamin Bankole Bello, who performs comedy as President Obonjo, is rather concerned by the Pleasance venue’s banning of comedian Jerry Sadowitz’s show at the Edinburgh Fringe…


For well over 11 years I have performed as self-exiled dictator, President Obonjo, living in the UK – bombastic, loud and terrorising the audience – a great conduit for jokes.

The press statement from the Pleasance included this:

“In a  changing world, stories and language that were once accepted on stage, whether performed in character or not, need to be challenged”. 

This has more implications for Character Comedy than Straight Stand Up. There is a difference and I have always believed that, when performing Character Comedy, you can get away with anything you say on stage… and I mean absolutely anything.

Displaying the characteristics of a dictator on stage has been warmly received over the years, The audience automatically assume he is a tribute act of the late Field Marshall Idi Amin. 

They know what to expect once they attend the show. They could end up with their heads in a fridge. They are expecting to be shot for comedy effect

The audience “could end up with their heads in a fridge…”

President Obonjo will never get his knob out to the audience, do racist, sexist or homophobic material. But audiences who come to see him know what to expect.

Dictators use intimidation, terror and the suppression of fundamental civil liberties.

He is likely to bring a gun out and threaten to use it, grab a woman and ‘marry’ her in front of an audience. He may threaten to waterboard an audience if they don’t laugh.  

Audiences have continued to accept this brand of comedy.

This statement from the Pleasance opens a can of worms for character comedy.

Saying something in character that is not in alignment with the organisation’s views could get your show cancelled.

Would President Obonjo survive performing at the Pleasance, if given the opportunity to do so, using the above characteristics? 

In fact, he did perform at the Pleasance as part of a compilation show AAA produced by Bound and Gagged in August 2019.  

The act has taken a new direction since 2019. What he says now is different from what he said in 2019. 

One of the President’s confidants recently said: “I think you need to go darker with your audience. They are  expecting it. You should do it and go darker.”  

I think the West is now so confused about Freedom of Speech, it is clearly exhausted with democracy.

President Obonjo (ironically) is the man to defend freedom of speech.

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“I was at the Jerry Sadowitz show… The Pleasance are just making **** up…”

As an addendum to the blog I posted earlier today about the Jerry Sadowiz/Pleasance venue contretemps at the Edinburgh Fringe…

My eagle-eyed, eternally-un-named friend has spotted a Tweet posted yesterday.

I cannot guarantee it is genuine, but I have no reason to suppose it is not…

I have put asterisks in the title in case anyone feels scared by words…


So, I was at the Jerry Sadowitz show last night at #edfringe and it was fucking hilarous. There was not a single walk out I saw, people laughed, and honestly what the fuck did you expect booking him @ThePleasance? He did what he does. If you are cancelling this you are fucked.

In case anyone thinks I’m bullshitting here is my booking. 

I have honestly never seen the left and right of Twitter united like this. Fuck you @ThePleasance. What he did was his act. That’s it. I understand he’s a thoroughly nice bloke away from his stage persona too.

Can confirm he did get his willy out, for anyone wondering. How many other festival shows have penises in them? Loads.

He’s also, by the way, one of the best magicians I have seen.

The comments by @ThePleasance about the walkouts are just completely fabricated btw. Neither my partner or I saw a single walk out, indeed we both commented on it after the show. 

The Pleasance are just making shit up to justify what they did.

I’m on the left btw, Jerry Sadowitz does not want to become a poster boy for the right, he’s said so publicly in the past. Anyone who thinks he’s a right winger is in for a shock – expect to face tirades aimed at you and your views/beliefs if you go see him live.

Everyone is a target. That’s the point.

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