Tag Archives: comedy

Israeli comics: “It’s hard to be pissed-off with someone who makes you laugh.”

In a couple of weeks, on Wednesday 4th October, the annual Comedy International conference and showcase is back in London.

Representing Israel in the showcase are three comics: Yossi Tarablus, Yohay Sponder and Shahar Hason. The night before (Tuesday 3rd October), they are performing a one-off full-length show From Israel With Laughs at the Seven Dials in Covent Garden – “People can see us for an hour and a half rather than just 10 minutes each,” Yossi told me on Skype from Tel Aviv.

Yossi Tarablus

“Will I – a non-Jew – appreciate it?” I asked.

“Sure,” he told me. “Shahar and Yohay have just returned from their Edinburgh Fringe show and from the Asia Comedy Festival in Singapore. It’s not going to be Jewish/Israeli stuff. People who don’t know Israel and who aren’t Jewish can come and still have a blast.

“We will be doing international stuff that works that we have performed all over the world. My show is a lot about family and kids and marriage. A wife is a wife and a child is a child and dating is dating. We are doing adjustments, but we won’t be doing material that we would be testing on the crowd. We respect the crowd. We do our homework.”

“Are the three of you similar in style?” I asked.

“No, we’re very different in style. It’s a great mix of comedians because everyone is at a different stage in life. I am the only one who is married; the other two are single.”

“How,” I asked, “is the comedy scene in Israel?”

Yohay Sponder

“The English-language stand-up scene in Tel Aviv and in Israel has really taken off. In the last five years, when we started this endeavour, we didn’t know how it was going to pan out. We started with an open mic and then expanded to another more professional evening and then another evening in Jerusalem and another evening in Tel Aviv. There was was a time when you could go to see English-language comedy in Israel four times a week. Now you can see it three times a week, which is great.”

“You said,” I pointed out, “when we started this endeavour. What endeavour?”

“We wanted Israel to be a base,” explained Yossi, “a hub for international comedy like there is in Amsterdam and Berlin and, of course, I’m not even talking about Anglo places like London and New York. We want to go out and perform all over the world. And we want international comedians to visit Israel. We have a lot of people who speak English here, a lot of expats from the US and the UK. So we have enough of an audience for weekly shows.”

Shahar Hason

“I presume touring American Jewish comedians already include Israel?” I said.

“The production company that is bringing us to the UK is the one which brought Louis CK and Eddie Izzard and Jim Jefferies to Israel and they’re producing Chris Rock’s upcoming tour in Israel in January. So they bring a lot of A-listers to Israel. And Abi Lieberman brings three comedians with him every six months to do charity shows in Israel. Seinfeld was here a year and a half ago.”

“So how,” I asked, “is Israeli comedy different from New York Jewish comedy?”

“I think,” said Yossi, “that a lot of New York Jewish comics are Woody Allen-esque. Very smart, very sophisticated, very funny and more like Eastern European Jews. They are maybe a little bit more self-deprecating: classic Shtetl Jews.

“Israeli Jews, in their comedy, are a little bit more – as Israelis are – more direct. We appreciate political correctness, but not in comedy. We don’t have a problem laughing at anyone. Laughing at our wars; criticising the other side; criticising ourselves.

“I think being in a country that is constantly in a state of… alarm… makes you less vulnerable to… eh… I mean, what can happen? We are here. We have survived everything. So we don’t care about… I mean, subtleties are fine, but we just want to have people laughing, bursting out laughing, forgetting the news, any tension in the streets or even any economic crisis. People come to comedy clubs to forget. People come to comedy clubs to laugh and have a great hour-and-a-half, to forget all their troubles.

“So we are there to punch you in the stomach and to make you laugh and we want to do that in a way that will make you disconnect from the news. We don’t do a lot of stuff about politics or about current events which might trigger you to something a little bit more traumatic. We don’t want that. We just want you to laugh because your life is pretty-much like ours. Finding a common denominator with the audience is something we look for as much as possible.”

“New York Jewish humour IS self-deprecating,” I said, “whereas I think maybe the superficial image of Israelis is that they are very self-confident.”

“Self confident and less politically correct,” agreed Yossi. “Looking at stuff without any buffers. So – Boom! – in your face. That is the Israeli mentality. Straight talking. If we don’t like this guy, we say we don’t like him. In Israel, we are really afraid to be a hypocrite. If we say we are afraid of Arabs, it’s straight. We are afraid of Arabs because we have a problem with the Arabs. You know? What can you do? It’s not an evening of poetry. It’s an evening of comedy.

“People have asked me about anti-Semitism or anti-Israeli feeling— if we have encountered anything – but, when you do comedy, it’s hard to be pissed-off with someone who makes you laugh. We just want people to have fun.”

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Filed under Comedy, Humor, Humour, Israel, Jewish

Thomasses got 10 million hits & 18-year old Brit girl played the Hollywood Bowl

Sarah and Nick – We Are Thomasse – 8.00am in Los Angeles

Time differences are a bitch.

I got an email from Nick Afka Thomas of Anglo-American comedy sketch duo We Are Thomasse.

“We will be at the Leicester Square Theatre on Wednesday Sept 27th at 9.30pm,” it said. “A lot has happened since your last blog on us! We now have 10 million views on our videos, have worked with Jason Mraz extensively, and have monthly shows in Hollywood at Second City, plus regular shows in New York.”

So I Skyped Nick and his wife Sarah Ann Masse at 4.00pm London time. But they live in Los Angeles. It was 8.00am there and they were still in bed.

“You have a new beard,” I said to Nick. “Is that permanent?”

We Are still Thomasse in the Batman caves

“No,” he told me.

“We just,” Sarah explained, “filmed a caveman sketch, so he grew it for that. In the Bronson Caves in the middle of Los Angeles, where the Batman TV show was filmed.”

“Your online videos are getting very successful on Facebook and elsewhere,” I said.

“The last 18 months,” said Nick, “we have had 10 million views.”

“How do you do that?” I asked. “I can’t do that.”

“I think something that is current helps,” Nick explained.

“We always,” Sarah added, “say there is no formula. But we have been able to replicate the success we had on 4th July now twice. We are British and American and a couple and we have put out these 4th July videos about Britain and America being awkward exes and people seem to respond. We are obviously well set-up to write those and maybe not a lot of people put out comedy videos for 4th July.”

“And you went viral on Facebook,” I said, “and all over the place.”

“This year,” Sarah replied, “a fan told us: They showed your videos at our town on a huge big screen before the fireworks display!” We were amazed. And we just did a comedy festival in Austin and a lot of people there told us: Oh! We watched your videos on 4th July at the party we were at! We seem to have tapped into something.

“But you really can’t predict what is going to be super-well-shared. One of the biggest hits we had besides the Britain-&-America one is the series called Feminist Fairy Tales. I think that just taps into something that matters to a lot of people. It only got about a million views, but it got a lot of press coverage.”

“The latest viral video,” Nick explained, “doubled our Likes on Facebook, but it has probably tripled our viewing figures. There is definitely some exponential curve where bit-by-slow-bit you can reach a broader audience and then I guess it starts to break out.”

Sarah added: “We got offered an audition the other day, straight to our email, from someone who  seemingly had just seen our stuff online. We can see it IS having an effect on our career and moving us in the direction we want to go in.”

“Which is eastwards,” I said. “You are playing London and Paris.”

“And Madrid,” Nick added.

“And a secret show,” Sarah added, “just north of Amsterdam.”

“Why is it a secret?” I asked.

“Because,” said Sarah, “the location is undisclosed until you purchase tickets.”

“Ah!” I said.

Anglo American comedy – Nick & Sarah sticking together

“And, as well as our shows,” Nick said, “we are doing workshops for the Oxford Revue and also in London and in the Netherlands.”

“And in Madrid,” Sarah added. “We have three workshops that we teach and we create custom ones as well.”

“The three are?” I asked Nick.

“Producing Digital Comedy, Sketch Writing in The We Are Thomasse Style and Acting For Sketch. We also have an E-mail List now – subscribe.wearethomasse.com

“One thing that will be interesting at Leicester Square,” said Sarah, “is that we met this 18-year-old beatboxer from London – Shamime Ibrahim.”

“Where?” I asked.

“At Jason Mraz’s big birthday concert at the Hollywood Bowl. She came out on stage in front of 15,000 people and beatboxed and we were completely blown away.

“We became fast friends and she is going to open for us at our show in Leicester Square and do the beatbox music between each of our sketches.”

“As you know,” said Nick, “our sketches are very, very fast-paced.”

“That’s for sure,” I said.

“We do about 30 sketches in an hour,” said Sarah. “A good mix of British and American comedy and, in Leicester Square, we will be doing some of our viral videos live – some other things which have had millions of views.”

“You are also doing regular monthly shows at Second City in Hollywood,” I said.

“The third Thursday of every month,” said Nick. “They have three bases – Chicago, Montreal and LA.”

“What do you do at the Second City gigs?” I asked.

“A 45-minute show of 25 sketches,” explained Sarah. “We have been there for over a year now.”

“And you also do regular shows in New York?”

“We perform there,” she said, “4-6 times a year – at the People’s Improv Theater.”

“You used to live in New York,” I said.

“Yes,” said Sarah, “but our audiences there are now packed with strangers.”

Nick laughed: “As soon as we left New York, we were huge there!”

“Talking of being big,” I said. “How come this 18-year-old from London was performing at the Hollywood Bowl when you met her?”

“She had,” said Nick, “just finished her A-levels in London on the Wednesday morning, was on a plane to Los Angeles on Wednesday afternoon and was performing to the crowd of 15,000 in Los Angeles on the Saturday.”

“That doesn’t quite explain how,” I said.

“We had,” he explained, “been making, producing and co-writing sketches with Jason Mraz to promote the Hollywood Bowl show.”

“Jason,” explained Sarah, “was recording and was talking to his producer and they decided they’d like some beatboxing and his producer said: Oh, you know, there’s a girl at school with my daughter. Let me see if I can find her. So she was at home doing her homework and, within hours, she was beatboxing with this Grammy Award winner at The Rhythm Studio in London.”

“The Rhythm Studio,” said Nick, “is also where we are going to be doing one of our London workshops.”

“Well plugged,” I said.

Then, I guess, they went back to sleep.

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How to perform a comedy show to an audience with dementia in a care home

Ben Targét (left) & Pope Lonergan are working on a project

So I chatted to comedy performers Pope Lonergan and Ben Targét…

“The two of you have this joint project,” I said. “Does it have a name?”

“At the moment,” Pope told me, “it just has the banner title of The Care Home Tour. One thing we are doing is a three-hour Alzheimer’s benefit Forgetting But Not Forgotten, organised with Angel Comedy at the Bill Murray in London on 2nd October. Lots of different comedians.”

“It’s a great line-up,” said Ben. “Richard Gadd, Lou Sanders, Robin Ince, Candy Gigi, lots more.”

“And,” said Pope, “we are doing two Work In Progress shows in the lead-up to that. We are doing those with Fight in the Dog, which is Liam Williams’ production company. The whole thing is being supported by NextUp and they’re partially funding it.”

“And these shows lead to?” I asked.

“A performance that is specifically tailored for an audience with dementia in a care home. I mean, anyone can enjoy it, but the feed line/punch line of a conventional joke is too complicated. They can’t follow the logic of it. Instead, they respond with a visceral, limbic response to visual comedy and physical comedy – the slapstick stuff.”

“What is limbic?” I asked.

Cross section of the human brain showing parts of the limbic system from below. (Illustration from Traité d’Anatomie et de Physiologie, 1786)

“The limbic system,” Pope explained. “When we process music. It’s an emotional response, a visceral response; it’s like our primitive brain. It’s what develops early in children. There’s a correlation between child development and mental deterioration.”

“So the humour,” I said, “must not be too sophisticated.”

“A perfectly-structured joke is not gonna land,” said Pope.

“It’s got to be driven,” Ben added, “by the visual rather than by words. How the residents are stimulated is no longer through wordplay or story.”

“But they can,” I checked, “be stimulated through sound and music and audio effects?”

“Yeah, yeah,” said Pope. “100%. Even when they have really advanced dementia, if you start singing something like Knees Up, Mother Brown, they all know the words.”

“Is there,” I asked, “a difference between dementia and Alzheimer’s?

Pope explained: “Alzheimer’s is a form of dementia. Dementia is the umbrella term. There’s Alzheimer’s, Parkinson’s, Huntington’s… My nan and David Baddiel’s dad both had Pick’s Disease – frontal lobe dementia – and that made my nan very libidinous. She was having sex with a lot of the men in the care home.”

“At what age?” I asked.

“About 85. She done well. Every time we went in, one of the carers would come over to my dad and say: Mark… A word? And my dad would come out pale, saying: Yer nan’s been at it again.”

“Is anyone going to be offended if I print that?” I asked.

Ben Targét & Pope Lonergan take afternoon tea

“No, no,” said Pope. “Good on her, you know? People with dementia obviously have diminished responsibility. They don’t really know what they’re consenting to etc, so there’s a line. But we have a husband and wife in the home who have been married 60 years. We have caught them in flagrante having sex and some people have said: We need to stop them. But that was not policy. It was just some people projecting their own discomfort. They are a married couple. They are adults. They are married. Why on earth would you stop them?”

“At a certain age,” said Ben, “we stop seeing people as adults and they become infantilised in our eyes. I don’t know if we are trained to or whether it is innate.”

“And that’s where it’s tricky,” Ben added. “Infantilised means dehumanised. The efficacy of their brain is not what it used to be but they are still adult, complex human beings.”

“I can say,” I checked with Pope, “that you work in the care industry?”

“Of course you can,” he told me.

“I am always wary,” I explained, “about saying comedians have a ‘proper’ daytime job because punters want to think of them as full-time professional comics.”

“Most of us have proper jobs,” said Ben.

“But sometimes don’t want to admit to it,” I suggested.

“We should, though,” said Ben. “I think it makes us way cooler. You get far more respect from people if you are grounded in reality.”

“Yeah,” said Pope. “Some comics think they are de-legitimised by it – Oh, my God, I’m actually part of the real world! I actually have a real job!”

“So you work in a care home,” I said to Pope, “but Ben, how did you get involved in this?”

“I used to work in care homes as well,” he told me, “as a teenager – when I was about 16 or 17. And recently Josie Long introduced me to Pope because he was looking to work with people who do physical and visual comedy. So I am trying to assemble a troupe who are willing to embrace the project.

October 2nd Benefit before the gig on 9th

“We are building to this first gig on October 9th in the care home and we do think of it as like the first exploration vessel that’s been sent out. We are hoping to reassess afterwards and then, in the New Year, do more gigs across the country in care homes.”

“There are,” Pope said, “loads of comedians who have expressed an interest. Sara Pascoe used to do theatre productions for people with dementia in care homes.”

“And there’s David Baddiel,” Ben added. “And Adam Riches – who has a lot of experience in his family of dementia and caring for people. And Phil Nichol. I’m interested to see Phil because, every time I have seen him, he’s got naked on stage and yelled at the audience!”

“Then,” said Pope, “there’s John Kearns. And Deborah Frances-White has been very supportive: she was the one who got David Baddiel interested. And Josie Long has been vital in putting it all together.

“I had done some of Josie’s gigs at the Black Heart. I was trying to figure out a way to incorporate my experiences in the care home into my stand-up act.

“Josie said: I’d love to see you bring your authentic experience of working in the home to your act. I told her: The problem is there’s a bit of dualism there. The way they act is not like the normal way ‘we’ behave. So you love the residents, you’re compassionate, you really care for them, but there is also a day-to-day blackly comic streak that you can’t put on stage because it would just sound horrible: that you are laughing at vulnerable people.

“The first time I done it, it was a bit too nasty, really. I didn’t intend it to be like that, but I hadn’t honed the material and it just came across as a bit mean-spirited. Afterwards, this woman who was apparently a High Court judge was shouting at me about it. It’s sort-of a tight-rope walk.”

“Even more so,” I suggested, “when performing to people with dementia?”

Josie Long said: “I’d love to see you bring your authentic experience to your act.”

“There are so many different types of dementia,” said Pope. “With some, the language centre (in the brain) has really diminished. Some have still got linguistic capacity – really good – they can process it. But still the normal, conventional joke is a bit too convoluted for them. So I always do things like shit gymnastics or shit karate. Anything that’s a minor spectacle they really respond to and laugh at.”

“Surreal,” I said, “rather than verbal.”

“Oh, absolutely,” said Pope. “Anything that is a minor spectacle and visual and silly. If you do wry observational comedy about Donald Trump, it won’t work.”

“Will seeing comedy,” I asked, “actually help them or is it just passing the time?”

“It is definitely better for their welfare,” said Pope, “in that there is a deficit in certain types of stimulation. When it comes to interaction, they don’t want to get up and be physically active, but they do want to be engrossed in something. They do want to sit there and watch something.

“We have told the comedians who are involved that they will have to re-calibrate their idea of what a successful gig is. There ain’t gonna be uproarious laughter. There ain’t gonna be the energy of a comedy club. But, even if the audience are not outwardly laughing, it doesn’t mean they are not stimulated and enjoying what they are watching. They always feel better after they have experienced some kind of entertainment.”

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Filed under Comedy, Mental health, Mental illness, Psychology

How to build a career in comedy (and other industries)… maybe or maybe not

Part of Tabula Peutingeriana, a Roman road map

Someone once said to me that he thought most criminals were doomed to fail and jail because they had no plan.

He was a criminal himself.

Had been.

He had stopped.

“If you gamble and flounder around and you have no plan,” he said, “you’re a mug.”

I paraphrase the words. But the thoughts are his.

“Most criminals,” he told me, “don’t have an aim. They don’t have a specific number they want to reach. If you want to make a million quid or half a million, you can very possibly do that. It’s like gambling. If you are determined and you take enough risks, you may well do it. But, once you get there, you should stop.

“There’s the risk of getting caught, the risk of going to prison, the risk of losing the gamble. And the longer you go on, the more the odds are against you. Most criminals don’t put a number on what they want, so they can never reach it.

“If you have no aim – if you just keep doing the same thing over and over again and don’t have no exit strategy, you’re a mug. You are treading water and you will run out of luck. It will all come crashing down on your head.”

I think you probably stand a greater chance of making a million from crime than from gambling with the odds in Las Vegas but, that aside, he has a point.

Without an aim, you go off in all directions and get nowhere.

And, of course, once you have achieved your aim, you need to know what your next aim is.

What brought this to mind was someone at The Grouchy Club this week who asked for tips about getting on in the comedy business.

I think one thing is to have a very specific three-year or five-year aim. And, indeed, ten and twenty year aim. Have a specific aim. You do not want to start by thinking about what your first Edinburgh Fringe show is going to be next year. You want to think where you want to be in three or five years time. And then in ten. And then in twenty. Then work backwards and figure out a roadmap for getting there, starting with wherever you are now.

Today is ground zero.

Whatever happened in the past has been passed. You can’t change the past.

Today is ground zero.

You do not just take a first step without knowing exactly where you want to end up.

If you want to get from London to Aberdeen, you should not just go into the first railway station you find and get onto the first train that leaves and focus your entire mind on which chocolate bar you are going to buy for the journey. You should be thinking about how to get to Aberdeen; not taking a random step and focusing on the detail without knowing where you are going.

If you don’t know the longer-term aims of your short-term actions, you risk just floundering around from random pillar to random post.

You have to be able to take advantage of accident and happenstance and side-turnings along the way of course but, again, without knowing the ultimate destination you want to reach in three, five, ten and twenty years, you risk not going or getting anywhere.

It is like writing a comedy show. If you don’t know what your show is about, you will be adrift in a sea of good ideas, unable to decide which ones to choose, unable to fit them all into an ever-changing shape that doesn’t exist. You should – in my easily-ignored opinion – not start with 1,001 amorphous good ideas and then try to figure out how to fit them all into some unknown shape illustrating nothing. You should start with the shape, then work back to the details you need to complete the shape.

You may have lots of colourful, differently-shaped pieces which individually look interesting but, if they don’t fit together, you ain’t got a jigsaw. You need to know the picture on the jigsaw you are making, then find the pieces that will fit together to create it.

With a show, in your own mind, you should have an elevator pitch. Decide what you want to create the show about. Then describe it in 10 or 12 words. Then, when writing the show, use only anecdotes, gags and thoughts that illustrate or illuminate those 10 or 12 words. Throw out anything else.

If you have some startlingly original, stunningly funny story – the most brilliant story or thought in the entire history of the world – which does not fit into that 10 or 12 word description, DO NOT use it. It will distract the audience, screw-up the flow and fuck-up your show. You can use this item of sheer genius on another occasion. The number of waffly, amorphous, don’t-hold-together hours of meandering shows I have sat through at the Edinburgh Fringe doesn’t bear thinking about.

If you cannot think of a 10 or 12 word description of the show you are obsessed by and keen to do, then you don’t have a show. You just want to be acclaimed for being yourself, not for creating something. DO NOT imagine you have a show. DO NOT throw your money away waffling at the Edinburgh Fringe. The funniest 3 or 6 minute story in the world, if irrelevant, will screw-up a show not make it better. Ten stories are not a show. Not ten random 6-minute unconnected shows with no flow. If it don’t flow, it ain’t a show. Ten stories all illustrating a single elevator pitch point ARE a show.

Of course – of course – of course – the irony is that I never had a plan in my career(s) or in my life. But that is because I am and always have been a nihilist. All of the above is just filling in time. It all ends when the Sun expands and explodes and takes everything with it – our long-forgotten skeletons or ashes or worm-excreta and everything else. It all becomes space dust floating in infinity.

So it goes.

When, at last, you are unable to close your eyes and all you hear is the sound of your own death rattle… all that matters is memories of love and/or genuine friendship.

But – hey! – if you are a performer, ego and acclaim are what really matter.

So have a plan for success. A very well-worked-out plan. Work out what you want in the long term, then work backwards to what you should be doing in the short and medium term to achieve that.

Have an elevator pitch of 10 or 12 words about what you want to achieve in life as well as what your show will be about. Don’t flounder. Follow the plan. Though allow for advantageous side roads.

Have a 10 or 12 word outline for your show.

Have a 10 or 12 word outline for your life.

And don’t blame me when it all goes arse-over-tits.

I know nothing.

I have never claimed I did.

I am just filling in time.

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Physical effects of the Edinburgh Fringe on stand-up comics over a week later

I got home from four weeks at the Edinburgh Fringe exactly a week ago. The Fringe runs for 3½ weeks.

Usually I reckon it takes three days to recover from the bizarre eating patterns, general oddity and erratic hours of the Fringe.

In Edinburgh, I was seeing roughly 6-8 one-hour shows each day over 3½ weeks and, on three or four days, two of them consecutive, I saw 9 shows each day.

Now, a whole week after getting back, I am still having early-to-bed, late-to-rise days and feeling lethargic. Compared to past years, I thought this was unusual. But then I read a Facebook post with input from comedians.

All I was doing was seeing shows, writing a minor blog and talking to people. These comics were staging and publicising shows every day.

I am too lazy to check if it’s OK with each of them to use their words so – to quote a phrase – Fuck it – I will just anonymise them and quote them anyway. This is what they posted:


AAA – I still feel like a train has hit me. Is this normal over a week after Edinburgh?

BBB – Yes

CCC Hell yes! Totally annihilated and I was only there 12 days

AAA – Just put my trousers on back to front and feel I am moving through soup. Time contrarily is moving very fast whereas it was a snail’s pace up north.

DDD – My first day back at the swimming pool. I felt like I was going to drown

AAA – I went yesterday and it was like shark infested water, only they were doing the butterfly

EEE – You should be back on track soon. If you do have to make any calls, please stay on the line… Wishing you a speedy recovery… quicker than a Southern Rail train! Sorry, but this is how I express myself!

FFF – If it persists into October it is a worry. Otherwise bog standard.

GGG – Yes.

HHH – Completely. Same train

III – Same here. Horrible head-cold and sleeping for about 10 hours at a time where I’d normally wake up after 7.

AAA – No head colds or flus, just this feeling the world is spinning and I’m lying on the sofa watching Game of Thrones and Outlander all the time. Hang on! that’s exactly what I’m doing!

JJJ – It’s age!

KKK – Yes…..

LLL – PED is the scientific name for it (Post Ed. Depression)

MMM – Yes totally normal.

NNN – Yup me too. Exhausted. Teeny bit miserable. No energy to chase actual gigs which are ironically probably the only way to feel better.

OOO – Yes

PPP – Yes

QQQ – Nordic Walking! It will help gently re-energise you.

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Edinburgh Fringe, Day 25: Comedy reviews, surrealism, nudity and politics

The Edinburgh Fringe splintered from the Edinburgh Festival 70 years ago and, like Christianity, has been splintering ever since.

The official International Festival and the official Fringe end on Monday; the Free Fringe ended today (Saturday); and the Free Festival and Bob Slayer’s Heroes venues close tomorrow (Sunday).

So today I saw shows for which mentions in this blog will, alas, not get any extra bums-on-seats. But, then, I think mentions in this blog only add to ‘profile’ not to bums. So apologies to them, but just think of the increasing prestige.

I always try not to ‘review’ shows or acts. I think I may have failed today. When I do this, it never ends well for me.

Cassie Atkinson (centre), a real character

I have a tendency not to like character comedy if the characters are too close to reality; I don’t mind more cartoon-caricature-like or wildly OTT character comedy. Which makes it odd that I like  Cassie Atkinson. I think it must be that the character comedy I hate is the stuff that feels like acting students doing an end-of term performance to their drama school mates. And I guess Cassie is a better actress than most! Or maybe she adds a tiny pinch of herself into even the characters least like her, so I buy into them more. I have no idea.

She does occasionally show a taste for the genuinely surreal – never a bad thing in my eyes though, alas, TV producers have no taste for the actual genuinely surreal. But now she seems to have linked up, more often than not in a blonde wig, with Kat Butterfield and Charlotte Pearson to perform sketches as Northern Power Blouse who, with luck, should be more attention-grabbing for TV producers – not that she really needs them with National Theatre work in her CV.

Lovely Lucy Hopkins – part light-fantastic

The genuinely lovely Lucy Hopkins is probably too good for British TV as her show Powerful Women Are About is said to be inspired by Mohammed Taleb’s Witches, Eco-Feminists, The Adventurers of the Soul of the World and is correctly described on the flyer as “part  electro-ritual, part theremin-experiment, part light-fantastic. Ultra-conscious comedy by award-winning, internationally-touring, terribly present clown.” In other words, it is totally un-categorisable – awkward for commissioners scared about the security of their jobs who think in terms of safe elevator pitches.

No great loss, though, as Lucy’s work is very specifically for live theatre.

Becky Brunning is interesting because she can bill herself as being an actor in the popular Broadchurch TV series – which will certainly help her in elevator pitches and may be why her room was literally full to overflowing with punters – some people couldn’t get in. Beaming is/was her debut solo show at the Fringe and, I have to say, was/is weird.

Becky Brunning suddenly pulled out a twist with a call-back

In Beaming, she establishes herself as a likeable, ordinary, modest girl-next-door then progresses to fairly standard, well-structured, low-key observational comedy – driving tests, shopping, crisps (I think she may have lost the audience on the long crisps section of the show) and she even, unless my ears had an audio hallucination, actually delivered the straight non-post-modernist line: “Does anybody in the room like food?”…

But then, in the last 10 minutes or so, she suddenly brings in a totally different and fascinating autobiographical strand about sexuality which would and perhaps should have been an entire show in itself. This strand did not come out of nowhere – it was a call-back to a tiny fact which had been mentioned in passing earlier in the show, but she suddenly pulled out a twist on this earlier comment.

Most of her show was standard and very general observational comedy. When she suddenly switched to very specific, unique personal stuff, something happened. I hate to say she is “one to watch” – far be it from me to be cliché. But I am certainly going to see her next show.

Luca Cupani even appeals to Hungarians

Then I went to see the wonderful Luca Cupani who, at the Malcolm Hardee Comedy Awards last night added to his glittering collection of awards the title Scottish National Russian Egg Roulette Champion 2017.

I thought I had seen his show – It’s Me! – at a preview in London, which is why I went to see it so late in its run here, but he has developed it beyond recognition and, of course, was superb. I can never quite get my head round why he is so good.

In theory, his Italian accent and what objectively is a rather dithery, broken-up delivery should interfere with the flow of the comedy but, for some reason – perhaps because it requires a slight bit of extra attention from the listener (but not too much), he is consistently fascinating. And he knows how to structure a story.

Interestingly, the room today contained Scottish, English, Siberian punters and a  lady sporting a T-shirt saying: I SPEAK HUNGARIAN. She was Hungarian. They all enjoyed it. I was watching the Hungarian lady a lot – her English was not too strong and she loved the show.

Becky backstage at Malcolm Hardee Awards

Next stop was Becky Fury, who had hosted the wildly chaotic Malcolm Hardee Comedy Awards Show last night. The chaos was not of her making – acts not turning up, acts turning up late, acts not saying in advance what they were going to do. And she handled it all masterfully, if that’s the right word, making up most of it on the spot – including swallowing a 3ft long balloon and doing a gameshow based on the health warnings on cigarette packets. Literally honking her breasts, of course, is always a crowd pleaser. And so it was tonight in her Molotov Cocktail show, ending with her successful rollercoaster of a Calais Jungle story. She dropped the political sections of the show and it still worked.

I am still waiting for the autobiographical street anarchist show which she has in her: if she ever does it, that will be a unique, perhaps literally fiery Fringe show.

If she does not get arrested.

Or even if she does.

A man conducts himself well

Rounding off the evening for me was a show called Brain Rinse – Puppetry of The Audience which threatened in its publicity to be “immersive” (almost always a horrifying idea).

In fact, it was superbly entertaining for the same reason that Herbie Treehead worked so well at last night’s Malcolm Hardee Comedy Awards Show. Both Herbie and Brain Rinse’s Mike Raffone (say it out loud) have long experience in street performance, so their audience control is second-to-none. A well-structured show; the ability to ad-lib on the hoof; top notch audience psychology. All hail!

That was my day.

Meanwhile, elsewhere…

Last night, at the repeatedly aforementioned Malcolm Hardee Comedy Awards, Russian Egg Roulette competitor Samantha Pressdee could not stop herself taking her top off. She has a lot of ‘previous’ in this.

Samantha Pressdee – a woman never knowingly overdressed

And, while I was roaming round the hot and sticky comedy rooms of Edinburgh today, she was out in the fresh air and I do mean ‘out’.

Apparently this was the 10th International ‘Go Topless’ Day and there was a rally in Edinburgh. The stated rules included:

NO-ONE IS IN CHARGE.

AS ALWAYS THE RALLY IS ESSENTIALLY ANARCHIC AS NO-ONE HAS AUTHORITY OVER ANOTHER PERSON’S BODY OR VOICE.

Samantha sent me a ‘report’ on what had happened:


The annual Edinburgh Free The Nipple rally for International Go Topless Day and Women’s Equality Day has been a success.

Members of the public joined in with regular campaigners and an open mic was held as a platform to oppose the censorship of opinion as well as nipples.

Only one member of the public got offended, shouting at protesters: “Shame on you! You’re flaunting yourselves! I can’t bring my daughter in to this space!” 

I chased the lady whilst shimming my tits shouting: “Breasts feed children!”

The hysterical woman responded: “I know! My daughter has seen my tits loads of times!” before telling a photographer to “Fuck off!”

I wrote FREE LOVE on my chest in protest of the threatened extradition of alleged hacker Lauri Love.

He is appealing in the High Courts this November on the grounds that, because of his Aspergers and severe depression, he would be unable to cope in the US prison system and would commit suicide.

For more information see freelauri.com


So there you are.

Comedy reviews, naked tits and political activism.

For what more could one ask?

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Edinburgh Fringe, Day 24: The Malcolm Hardee Comedy Award winners 2017

The late, out-standing comic Malcolm Hardee.

The final increasingly prestigious Malcolm Hardee Comedy Awards Show took place in the ballroom of Edinburgh’s Counting House.

The winners chosen by the five judges earlier in the day, with awards presented by critic Kate Copstick and Malcolm’s sister Clare Hardee during the show, were:

MALCOLM HARDEE AWARD FOR COMIC ORIGINALITY
Terry Alderton for his successful self-reinvention and, well, for originality

MALCOLM HARDEE CUNNING STUNT AWARD
Mark Dean Quinn for his simple yet successful subversion of the star system of comedy reviews by putting other people’s quotes and stars on his own flyers.

THE ACT MOST LIKELY TO MAKE A MILLION QUID AWARD
Rob Kemp, currently performing in the Elvis Dead.

The Awards Show, compered by Molotov Cocktail street anarchist and comic Becky Fury, concluded with the increasingly prestigious annual Scottish Russian Egg Roulette Championship supervised by Andy Dunlop, President of the World Egg Throwing Federation and John Deptford, Vice President of the World Egg Throwing Federation.

Italian comic Luca Cupani is now officially the 2017 Scottish National Russian Egg Roulette Champion, having previously represented British comedy in Canada.

I have to add, with some humility, that I was also the recipient of a surprise prize for my work on the Malcolm Hardee Comedy Awards over the last ten years: 16 cans of Red Bull, bought by the three female members of the judging panel for supervisory services rendered.

Earlier in the day, World Egg Throwing President Andy Dunlop revealed to me that there has been a recent outbreak of exploding intestines across the UK.

“There is methane produced inside the human body,” former-fireman Andy explained, “and when you have surgery using laser scalpels, that is enough to ignite it and there have been a number of fatalities in operating theatres in which intestines exploded into the room.”

Vice President John Deptford, who (this is true) left for Peru four hours after the Awards Show finished, took 7 seconds of video footage of the two hour show.

Brevity can be a virtue.

Context is King.

The ballroom of The Counting House was left with some unfortunate egg stains, indelible memories and an inexplicable smell of paraffin.

You had to be there.

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Filed under Comedy, Surreal