Tag Archives: lewis schaffer

Harvey Weinstein, Lewis Schaffer, an iPhone and Becky Fury’s fanny print

James Harris (with microphone) talks to his guests at the wedding party in Hackney this afternoon

This afternoon, I was at comic James Harris’ wedding party in Hackney. He got married yesterday to Ke Zuo.

I was sitting talking to Hannah George and to Toby Williams, the comic who used to perform as character Dr George Ryegold. I was suggesting to them that, when the inevitable movie of the sudden downfall of film producer Harvey Weinstein is made, Lewis Schaffer should play the part of Weinstein.

The Hackney wedding party included a non-hackneyed show.

Not because of Lewis Schaffer’s sexual proclivities (Brian Simpson, the English character actor who plays the role of Lewis Schaffer is gay) but because he would be able to play the New York Jewish character to a tee – ironic, given that Brian Simpson is neither Jewish nor a New Yorker.

Imagine my surprise then, dear reader, when my left nipple began to be tickled by the vibrations of an incoming text message on my iPhone.

The message was from a comedy promoter. It said:


Where are you? Sounds like fun.

And why do you keep saying Lewis Schaffer’s name in vain interspersed with Harvey Weinstein?

Intrigued.


The iPhone in my shirt’s breast pocket must have phoned the comedy promoter of its own accord by pressing itself against my erect nipple… Yes, the party was that exciting.

I sent a message back. It said:


Oops! You can’t trust mobile phones.


I put the phone back in my breast pocket.

A little later, it tickled my nipple again.

Janey Godley’s iPhone told her I had left a 10 second message

It was a text message from comic Janey Godley, in Aberdeen to perform two shows with Scotland’s former First Minister Alex Salmond. It said:


John did you leave a message?


I had not phoned her. But her iPhone told her I had left a 10 second audio message on her phone.

Mysterious cyberspace keyboard not sent by me to Aberdeen

And I also seemed to have sent her a photograph of a keyboard.

A little later, I got an email from comic Becky Fury, the winner of last year’s Malcolm Hardee Cunning Stunt Award who has taken to calling herself a double Malcolm Hardee Award winner because of a dubious event in a London pub.

Becky Fury’s new weekly show project

Becky’s email was inviting me on Tuesday to a new weekly show she is organising in Victoria Park, London. The show is called the Demokratik Republik of Kabaret but she has inexplicably abbreviated that not to DRK but to DPRK, the abbreviation for North Korea.

As the weekly comedy night is new, she wants acts who want to perform to get in touch with her.

Her message said:


Anyone who wants to come down and try new or experimental material in a lovely venue please email Demokratik Republik of Kabaret with a submission – PeoplesCabaret@gmail.com


Becky Fury – a woman in search of the bizarre and original

I am not a performer so I think Becky assumed I would not be interested in this message and that is why she included a story for me.

To hold my attention.

I do to know if the story is true or not.

I seem to live in a world in which comics pretend to be doctors. Or not.

And English character actors pretend to be Jewish New York comics. Or not.

And iPhones phone each other without asking permission from the people who own them.

Becky Fury’s message read:


I went to see
Betty Grumble sex clown
(Not available for children’s parties)
And she gave me a paint print of her fanny
(If you think that’s bad you should see the one
Coco the clown did with his anal beads
That’ll be the last time he gets booked to play that village fete)
So I put a picture of it on Facebook
(The paint print of the fanny
Not the anal bead one
Coco’s management have taken out an injunction on that)
I put on Facebook ‘I went to see Betty Grumble Sex Clown and she presented me with this paint print of her fanny’
The next day this comedian comes up to me and says
‘I just went to see Betty Grumble
and she gave me a paint print of her fanny…
And she signed it’ I didn’t believe him
So I said
‘Where did she stick the pen?’
He didn’t know
So I said ‘Betty Grumble didn’t give you a paint print of her fanny, did she?
You didn’t get a signed paint print of Betty Grumble’s fanny, did you? You didn’t get an unsigned paint print of Betty Grumble’s fanny. You didn’t get any paint print of Betty Grumble’s fanny. You’re just saying that because you are jealous Betty Grumble chose to give me a paint print of her fanny
And I was angry
And a man on the way home said ‘What’s wrong?’
I put on Facebook ‘I got given a paint print of Betty Grumble’s fanny and this guy came to me and said ‘Well, I got a signed paint print of Betty Grumble’s fanny and I said ‘You didn’t get a signed paint print of Betty Grumble’s fanny, you didn’t get any paint print of Betty Grumble’s Fanny’
And the man said
‘Jesus you’re angry about who’s been given a paint print of a clown’s fanny
That is ridiculous
You’re meant to be a comedian
Do you not think that’s funny?’
And I thought ‘Yes, ridiculous. Ridiculous one-upmanship. Hilarious.
When I get home I’m going to put a post on Facebook saying
Marcel Marceau mimed/handed me a card which said ‘You are the best comedian in the world’
And a Malcolm Hardee Award made out of modelling balloons
And then Coco the clown gave me a necklace made of his anal beads


That is the message that Becky Fury sent me.

I think I will go and lie down now. It has been a long day.

Sex clown Betty Grumble’s alleged fanny print as photographed by Becky Fury, cunning stuntress

Leave a comment

Filed under Comedy, Surreal

Edinburgh Fringe, Day 19: How to perform comedy to a tough audience

Yesterday’s blog ended (because of the interruption of midnight) just before Arthur Smith’s annual alternative tour of the Royal Mile started (at 2.00am).

Telephone box claiming on the Royal Mile

This tour used to be a near Bacchanalian trip with occasional appearances by the boys in blue (usually the police; seldom the Smurfs).

Now it is a comparatively more civilised trip down the cobbles from the Castle to St Giles Cathedral – if you can call it ‘civilised’ with 60 people following Arthur down the street as he declaims poetry, misrepresents statues, accosts passers-by, encourages people to perform cartwheels, climb atop telephone kiosks and get into holes in the road, become living statues in the night-time street, and introduces a man loudly singing Frank Sinatra songs from a second-storey window at the top of his voice at around 02.30 in the morning.

Arthur approached one of the increasingly prestigious Malcolm Hardee Comedy Awards judges (not me) this afternoon to run naked down the Royal Mile but, alas, they felt the possibility of arrest and getting a criminal record was even riskier to their future reputation and job prospects than being an increasingly prestigious Malcolm Hardee Comedy Awards judge.

By the time Arthur had finished his shenanigans and I got home to my flat and into bed, it was around 04.00am. Which is fairly average for Edinburgh during the Fringe.

Later in the day, I bumped into former sailor Eric, who tried to persuade me again that he should get a Malcolm Hardee Award For Comic Originality because he has now been performing the same show – Eric’s Tales of the Sea – A Submariner’s Yarn – at the Fringe for 10 years. He was eating a chip.

Could be good. Could be shit. Don’t matter.

The former squatters on the late Malcolm Hardee’s boat, the Wibbley Wobbley, are staging a one-off comedy play about him – Malcolm Hardee: Back From the Drink, on Wednesday at The Hive, not to be confused with my own Malcolm Hardee Comedy Awards show on Friday at the Counting House.

Their comic play should be interesting, as they never met him. And though I say it is a one-off. In fact, they tested it out on Friday in London… They are performing it this Wednesday in Edinburgh… And are hoping more London performances may happen.

They – five of them – came to the Grouchy Club this afternoon to discuss the show but I am told I have to keep schtum about it to avoid plot spoilers.

Who knows if it will be an audience-pleaser? I have not yet seen it. “Could be good. Could be shit,” as Malcolm used to say when introducing as-yet unseen acts.

To be really honest, it is not the shows I enjoy most about the Edinburgh Fringe, it is the city and the people. The shows come third.

The aforementioned Grouchy Club is open daily, totally free to all at the Counting House 1415-1515. If you got it, flaunt it.

The manager of the Counting House and the adjoining Pear Tree is Brian.

During the Fringe, all day long, weather allowing, he sits at a barrel on the pavement outside the Counting House, helping and supervising and helping and advising.

Brian is a big man. I did not realise how big he actually until today. He is normally seated at his barrel.

One of his lovely Counting House assistants told me Brian was officially the tallest teenager in Scotland in 1985.

Big Brian by his barrel with one of his lovely assistants on a surprisingly sunny day outside the lovely Counting House

“I was 6 feet 5 inches tall as a teenager,” he confirmed to me outside, sitting by his barrel. “I’m 6 feet 11¾ now – a quarter of an inch shorter than a giant. Imagine that. If I had just spent a little bit more time growing, I could have made it to giant status. I could have had it on my passport and my CVs. Occupation: Giant. There is a Tall Person’s Club, but I’ve never joined. It’s supposed to get you good flights with extra legroom and stuff.”

“Do you,” I asked, “get charged extra for having a sideways…”

“For having long legs?” Brian asked. “Yes. That or the drinks trolley goes over your feet. You are crucified either way.”

People. The Edinburgh Fringe is all about people.

I got an inevitable text message and two pictures from Lewis Schaffer.

Lewis Schaffer (left) with what he calls ‘candies’ and Eric

“Eric the Submariner,” it said, “has been going around town today handing out candies to brighten performers’ moods on what he calls ‘Shit Sunday’ – the third Sunday of the festival. He has picked the right person. I’m a mess.”

Eric the submariner used to be a regular in the audience at Malcolm’s Up The Creek Club and it was Malcolm who encouraged Eric to perform. His Tales of The Sea is a real audience-pleaser of a show with Eric in total control of the audience. Well, he should be, after ten years!

President Obonjo harangues his full audience of 350

The same could be said of President Obonjo – Benjamin Bello – whose African dictator character dominates any room – which is more difficult than he makes it seem because it could be fraught with all sorts of racial stereotype problems. The fact it sails smoothly through and he had his audience of 350 (he insists all his audiences anywhere at any time are and forever will be 350 but, in fact, today he did have a full-to-the-brim audience) eating out of his comedic hand is a tribute to his skill.

Matt Price was in charge of the Royal Marines

A talent that Matt Price (partner of cunning stunt vixen Martha McBrier) had to have in spades tonight.

His show The Weed Fairy is about his father – so-called because of his dad’s predilection for growing marijuana plants at the family home in Cornwall and consequent visits from those boys in blue again.

But that was not why Matt needed all his audience-controlling cleverness and amiability tonight.

Matt and men from 42 Commando, K Company, including Corpsey in the striped shirt, second from the right

He had eight Royal Marine Commandos in the audience, one of whom – Corpsey – was almost paralytically drunk. Matt managed to be relentlessly insulting to Corpsey (which is what his Marine mates wanted) without in any way offending either Corpsey or his mates.

It was an extraordinary feat of professionalism intermingling the scripted show, drunk-wrangling, physical improvisation, ad-libbing and street psychology.

Matt played very literally passive aggressive. He would be insulting to Corpsey and the other Marines (which they loved), then back-off into amiable self-effacement and amiability, then swing back into put-downs, then be your-best-chum, then land a slight insult, all-the-while keeping the pace of the narrative of his story on-course and on-pace.

Brilliant.

Plus there was film of him, as a slim teenager, skateboarding… and an online instruction video about didgeridoo-playing from a man claiming to run ‘The Didge Project’.

It might have been a Cunning Stunt.

Anything could be.

Fantasy and reality are beginning to merge in my mind. That is not uncommon at the Fringe, which may be the best thing since slice bread.

Meanwhile, the world outside the Edinburgh bubble still turns.

In non-Fringe-related news, my eternally un-named friend points out to me that entertainers Bruce Forsyth, who died three days ago, and Jerry Lewis, who died today, were older than sliced bread.

Sliced bread was born on 7th July 1928.

Bruce Forsyth was born on 22nd February 1928.

Jerry Lewis was born on 16th March 1926.

There are sequences from Jerry Lewis’ unseen movie The Day The Clown Cried in a documentary extract on YouTube. It has a commentary in Flemish…

Welcome to my reality.

 

Leave a comment

Filed under Comedy

Edinburgh Fringe, Day 17, Part 1: The continuing mystery of Lewis Schaffer

Young Lewis Schaffer (left) and his mother

Yesterday’s blog included Kate Copstick’s interesting take on Lewis Schaffer and his show Unopened Letters From My Mother.

Today I received a comment on that blog from one Ian Roberts. He wrote:


As long as anybody is writing about Lewis Schaffer, he is ‘happy’ in the terms that he understands what ‘happiness’ is about. His comedy is one long essay in narcissistic neurosis and an inability to focus on his craft.

As such he is a uniquely perplexing phenomenon to a small group of often appalled fans who come to watch the car crashing again and again and again.

I suspect he is too long in the tooth to change now and so his subsistence comedy will continue as long as he has breath to utter Whaddabout me? Whaddabout me?

In the beginning, he was no doubt the poor man’s Woody Allen and one to watch. Now he has certainly grown into the persona of the poor man’s Lewis Schaffer. And for that I salute him. He adds gaiety and a fixed position in the often times stellar landscape of our Edinburgh revels. It is such a shame his mother never lived to see this for herself.


Is Lewis Schaffer in over his depth?

And Lewis Schaffer himself responded in an email to me:


There is truth to what Copstick said: I must have the need to feel regret and remorse and sadness and fear all the time.

But I did not do this show to feel pain.

I thought it would be interesting, which is important to me. Funny can be interesting but not the only way, I have now realised.

I did not expect there would be this much heartache and sorrow.  I want to stop. I am not sure what I am getting out of it, other than tears, or what the audience is getting out of it, other than see a grown man crumble.

Thank you for finding me interesting for you to write about me.

1 Comment

Filed under Comedy, Psychology

Edinburgh Fringe, Day 16: The comedy critic, the comic & the sado-masochism

Copstick at the Grouchy Club this afternoon

People who have foolishly never attended ask what the increasingly prestigious live Grouchy Club shows which I host with comedy critic Kate Copstick are actually like.

Well, for one thing, they are not really shows. They are chats. Free to enter. Free to leave. No bucket collection at the end.

They aim to be what The Scotsman described them as last year: “a talking shop for comics riding the emotional rollercoaster of the Edinburgh Fringe” – except that the target audience is wider… performers, media and industry.

The audience are the show. Co-host Kate Copstick and I talk with whoever turns up about whatever crops up. Inevitably, today, one of the subjects was (again) comedian Lewis Schaffer and his show Unopened Letters From My Mother – Each day, he opens one of 23 letters his mother sent from New York (some from a mental hospital) to him in London between 2000 and her death alone in New York in 2011. And he never opened them.

Lewis Schaffer reading aloud one of his mother’s letters

In yesterday’s blog, I wrote: “I have a terrible feeling that he is doing these shows as a way of daring the audiences – and daring himself – to dislike him.”

This afternoon, at the Grouchy Club, I said: “In his show last night, it was seriously voyeuristic. We were watching a real person on the stage… not quite having a breakdown, but showing real emotions. You don’t normally see real, genuine emotions on the stage.”

“I think,” said Copstick, “that he is genuinely a kind of misery junkie. Some people go into physical SM because, when someone takes a whip across your back, you get a rush of endorphins. That’s just scientific fact. Whatever you think of the psychology, getting beaten-up creatively releases endorphins into the brain and they are the most powerful feelgood chemicals on the planet. It stimulates all kinds of things. The messages that the nerve endings send release into your brain adrenaline and all the -enalines and they are ‘fight or flight’ and they give you a kind of a rush, a head rush.

“And, of course, you are not using that to trigger flight – frequently because you’re bound up – or because you are paying to be beaten-up, so why would you run away? The bondage thing – the psychological thing – helps but, physiologically, you get an endorphin rush.

“Things like morphine are less powerful versions of the drugs that your brain makes anyway. It’s an amazing feeling. I don’t really do it now, I think, because I am on severe anti-depressants. But, before I was on anti-depressants, I was a real SM junkie. There were a couple of guys – I was their favourite sub because they couldn’t hit me too much for my taste. There were a couple of guys, I was their ‘show sub’ if they were doing a demonstration and I would come out feeling great, feeling relaxed, feeling happy.

“Some people self-harm and they cut themselves. I had a kebab skewer – I’ve still got it for old times’ sake – which I used to stick in my arm and swizzle around. It didn’t make a big mark. I would just go, stick it in, swizzle it around and you get this burst of pain and then (BIG SIGH OF RELIEF).

“I think Lewis Schaffer has that same kind of need, but it’s an emotional not a physiological thing. He needs to traumatise himself emotionally every so often. He has his divorce, this, that, everything but, now he has a relationship, people love him in Edinburgh, nobody really ‘has a go’ at him any more.

“So I think in the same way that I needed physical pain, he needs emotional pain. Maybe it reinforces his ideas about himself or whatever and he gets from a very specific pointed burst of emotional pain like that the same thrill and the same release that someone who is into physical SM gets from a whip across their back.

“What you need is something very specific… For example, it’s no fun for somebody who is really into SM to break a leg and be in pain all the time. It IS pain, but what you need is a burst of pain and it needs to be deliberate. I have lupus. I’m in pain all the time, so I should be happy like a pig in shit. But there is no intent.

“For Lewis, just having a shit day or a shit week or Oh! My life’s going all wrong! – That’s not the kind of misery he is addicted to. If he opens a letter from his mum and she is saying: You are a shit! You are dead to me! – that is a specific burst of pain and there is the added misery that he can’t do anything about it now because she is dead… That’s a real bombshell of misery and… I am not saying he wallows in it, but I think it’s a need he has to reinforce a… well, self-loathing is a cliché now but… I think it’s like a lash on his back.”

…THERE IS REACTION TO THIS BLOG HERE

The Grouchy Club – Edinburgh Fringe 2017

1 Comment

Filed under Comedy, Psychology

Edinburgh Fringe, Day 15: Participation hell and real tears in a comedian’s eyes

Hell is other people en masse, as Jean-Paul Sartre did not say.

God! How I hate audience participation!

Not all audience participation, just some.

As mentioned before in this blog, I am allergic to certain things in comedy.

One is stand-up character comedy when it is an attempt by an actor or actress to create a ‘real’ character. or, almost worse, a fake ‘eccentric’ character when the performer does not have any streak of eccentricity themselves. This is not comedy; it is a drama school showreel. The more cartoony, the less real, the more I like it.

The other thing that I can’t take is mass jollity. Singalongs, dancealongs and people doing almost anything as a group instead of as individuals just ain’t me. I can think of nothing worse than people singing in gigantic groups. Or doing anything in gigantic groups.

So perhaps it was foolhardy of me to accept a ticket for a late-night show called Juan Vesuvius: I Am Your Deejay at Assembly’s George Square Theatre, allegedly presented by a Venezuelan DJ (actually New Zealander Barnie Duncan in his third Fringe show).

Juan Vesuvius aka Barnie Duncan – Arghh! Help! Let me out!

It started as Manuel-from-Fawlty-Towers style character comedy then, once the character was established, turned into a brash, loud, glittery, music-music-music lecture on the history of disco music, disco clubs and related social music phenomena. It is tremendous entertainment. Wildly exciting. Terrifically atmospheric. And, as anyone who read my blog about The Elvis Dead, it is not remotely for me. At the end of the show, people were up on their feet dancing and waving their arms about. I was internally screaming: Arghh! Help! Let me out!

The audience loved it. And I got a new insight into my dourness.

At the risk of sounding like some desperate Miss World contestant, I’m interested in people. People as individuals.

150 people dancing the same movements to the same music or 10,000 people singing a song in a stadium is nothing to do with people. It has to do with psychological insecurity and a need to feel wanted.

Sitting at the back of the Grouchy Club, a silent man

The concept of the increasingly prestigious Grouchy Club at the Counting House is to talk to the audience. One person at a time. Community singing is not encouraged. Individual opinions, anecdotes and bees-in-bonnets are encouraged.

Today, those people included Nick Awde from The Stage, director Sarah Chew, Ian Dunn from the British Comedy Guide, Robert Peacock from The Wee Review and Ewan Spence from multiple podcasts, Forbes magazine and the Eurovision Song Contest. And performers.

And no random non-industry punters. Which is perfect. Because it meant we could gossip, for example, about one performer’s objection to a one-star review he got from The Wee Review and his consequent, continuing campaign to get hold of Robert Peacock’s home address, threats of legal action, articles in the New York Times etc etc. It is possibly the subject of a future blog, except the current copied-and-pasted basic information is over 3,700 words long.

Michael Brunström, gloriously surreal, with a bag of Oz compost at his feet

The real eccentricity of the day, though, started when I went to see the gloriously surreal Michael Brunström’s show Parsley at the Dragonfly. Anything that starts with the performer in some sort of ancient Grecian dress, draped with  some sort of green-leafed climbing plant and playing the recorder is good for me.

If he then gives out whoopee whistles to the audience, asking them to randomly blow them whenever they like throughout the show, it can only get even better. And does.

The on-stage character is, of course, exactly that – a character, not the real Michael Brunström… but I can’t help observing it’s not THAT different from him. Writs may arrive in my letter box next week.

In the gloom, Mr Twonkey announces the bad news to his disappointed audience

I was also due to see Mr Twonkey perform his Christmas in The Jungle show at the Dragonfly. Alas, there was a power cut before he started and he was forced to cancel the show.

The admirable Mr Twonkey is, again, a surreally eccentric character (played by ever-amiable Paul Vickers).

And, again, the on-another-planet character on-stage may not be exactly the same as the person playing him, but I think they may live on the same planet as each other… just not on planet Earth.

Which brings me to Lewis Schaffer.

I went back to see his Unopened Letters From My Mother show again at the Counting House. I saw it around a week ago.

Each night, he is opening a different letter from his mother which he received but never read.

Someone has described this show as part comedy, part tragedy, part sociological experiment, part psychological insight and 100% voyeurism.

It may have been me in that last sentence.

Tonight, in her unopened letter from 2002, his mother called him a shit and said he was dead to her. She is now dead. The tears in his eyes were genuine.

Lewis Schaffer’s unopened letters from his mother

Lewis Schaffer does not really know why he did not open the letters and, the more I think about it, the more I wonder why he decided to do the show at all. I have a terrible feeling that he is doing these shows as a way of daring the audiences – and daring himself – to dislike him.

The previous time I saw this show, he opened and read the letter towards the end of the show. Tonight, he opened and read it towards the start.

He is trying out different things each night.

For me, opening and reading the letter towards the start was a mistake, because he was so emotionally affected by the contents tonight that he was not in the same control of his show that he usually has.

Even when performers appear to be themselves on-stage they are, of course, performing as a particular version of themselves. They are not themselves.

Lewis Schaffer’s show tonight was a fascinating, unique voyeuristic experience, watching an actual person on-stage showing raw emotions and trying to recover from them – part performer, part real human being. Fascinating.

Colin Buckie – from Bobby to Lou

Someone who should have been at the Grouchy Club but wasn’t was Colin Buckie, who owns Bobby’s Sandwich Bar by the Greyfriars Bobby statue. I met him because he was chatting to former submariner Eric in the Abattoir by the Purple Cow.

Such sentences seem reasonable in Edinburgh during the Fringe… I met him because he was chatting to former submariner Eric in the Abattoir by the Purple Cow.

Colin had once sat next to Velvet Underground rocker Lou Reed at a Burns Night Supper in Edinburgh.

“It was three years before he died,” Colin told me. “It was an unusual night. It was at the Reid Music Institute, the Reid Hall at Edinburgh University. We had a lovely evening round a table and Lou Reed stood up and read out a poem or a story by Edgar Allan Poe – he was a huge fan of Edgar Allan Poe – and then some readings of Robert Burns. He was a huge fan of Robert Burns too. He said: I love these lyrics.

“I mean, primarily, Lou Reed was a lyricist. He was very interested in poetry and William Burroughs and beat poetry and…”

“He,” I asked, “read out Edgar Allan Poe stuff on a Burns Night?”

“He did,” said Colin. “I was astounded I was sitting next to Lou Reed. I have never been starstruck before or since. I was so astonished, I never mentioned once to him that he was Lou Reed.”

Will people, in future, speak in such awe of having been in the presence of Lewis Schaffer?

Only time will tell.

Leave a comment

Filed under Comedy

Edinburgh Fringe, Day 13: The Elvis Dead, compost and comedy in a shed

I ended today soaked through with Irn Bru and rain.

The day started off like a normal Fringe day.

“Michael Brunström wants to borrow some of my compost,” performer Narin Oz told me, as I walked into Fringe Central. This made perfect sense at the time – a sign of how your brain soon gets affected by the Fringe.

I was on my way to the first Grouchy Club of the Fringe, supposedly chaired by Kate Copstick and me – but she had been dragged off by The Scotsman to review former First Minister Alex Salmond’s chat show at the Assembly Rooms on other side of town.

Becky Fury stood in for Copstick. Same hair; no white streak. The front row of our overwhelming audience (it’s all comparative) included two women who had seen Lewis Schaffer’s show last night and had not liked it.

Martha McBrier – castigated by some for playing a didgeridoo – arrived with a small brown box.

Copstick arrived when the show was almost over, telling chilling tales of Alex Salmond singing.

Cultural appropriation for Martha McBrier to play the box?

Martha McBrier played the small brown box by blowing into it. She claimed it was a ‘box didgeridoo’.

It was unclear to both her and us if women were banned from playing it, as they are with linear didgeridoos.

We started discussing Lewis Schaffer again.

At this point, Lewis Schaffer phoned asking me to send him a picture of himself.

Then I was off to see Michael Brunström, Phil Jarvis and  Alwin Solanky perform the legendary 20-minute routine Dinner For One in a small garden shed beside Bob Slayer’s Blundabus.

Dinner For One, recorded in English for German audiences in 1963 is extraordinarily famous in Germany, Austria, Norway, Finland, Estonia, Latvia, Lithuania, the Faroe Islands, Switzerland, Luxembourg, South Africa and Australia. In fact, loads of places except the UK.

(Left-Right) Alwin Solanky, Phil Jarvis and Michael Brunström

Phil Jarvis introduced this shed-based production in German, then Dinner For One was performed in English with Phil as the butler, Michael Brunström in drag as the lady and Alwin Solanky as the tiger skin rug. The shed miraculously contained an audience of (I think) eight people, with more peering in through the open door.

Dinner For One: a cast over the top; an audience under threat

The spilling, throwing and spewing of Irn Bru – standing in for the original show’s alcoholic drinks – was extensive.

The result was that I was (with some pride) the only audience member left in the shed by the end.

I had taken the precaution of wearing a coat which I bought in Nuremberg and which, fortunately, has a liquid-proof hood.

This production of Dinner For One epitomised the spirit of the Fringe – people performing something for no logical reason whatsoever, ignoring financial recompense, audience numbers and any common sense.

You did, indeed, have to be there.

As did I at Nathan Cassidy’s one-off event The World’s Best MC Award Grand Final because I was booked to be one of the judges – well, THE judge, as it turned out.

I did not know what to expect from this.

I blogged about its clear Cunning Stunt Award intentions in a blog almost three weeks ago.

At the Awards (L-R) Nick Helm, Rich Wilson, Nathan Cassidy and Sarah Callaghan (Photograph by Rat Pack Productions)

As it turned out, it was pretty much what it said on the label – six good comics doing 5-minute MC-style intros – each introducing the next – in an attempt to win an alleged £5,000 prize.

The comedians/MCs were Sarah Callaghan, Nick Helm, Joey Page, Mark Silcox, Chris Turner and Rich Wilson.

Unsurprisingly, in a shock twist, Nathan Cassidy won his own £5,000.

Very enjoyable, a real audience-pleaser, but I’m not convinced it’s a Cunning Stunt. The door money DID go to charity, though.

That is not up to me, though.

Fellow Malcolm Hardee judges Marissa Burgess, Bruce Dessau, Kate Copstick, Jay Richardson and Claire Smith all have equal says to me.

Talking of Malcolm Hardee – and who isn’t at the Fringe? – the wonderful 2011 Award winner Johnny Sorrow and Bob Blackman’s Tray have arrived in Edinburgh. I saw them tonight at The Newsroom, the small venue at the top of Leith Walk. From their energy, he/they could have been playing Radio City Music Hall.

THAT is how to play to an audience of one.

No audience problem for The Elvis Dead, though.

The Elvis Dead – Cultural event or niche pastiche?

It is probably the hottest and most talked-about show in Edinburgh.

In fact, the buzz around it started at the Leicester Comedy Festival back in February and has built to dizzying heights since. It is superbly well put together together and performed.

But I am not the target audience.

It reminded me of my experience over a week ago when I saw Mother’s Ruin – about gin – with an audience fully into the subject. The Elvis Dead is a musical re-telling of the movie Evil Dead II through pastiches of Elvis Presley songs.

My problem is that I have not seen Evil Dead II; I am not a particular fan of Elvis Presley; and singalong, clapalong-stompalong-whoopalong, crowd-bonding events are not my thing. Mea culpa.

The audience LOVED it. The only-begetter of this crowd-pleasing triumph, Rob Kemp, is getting full houses every night. But for me, the elevator pitch is that it is Jollyboat rabble-rousing (I like Jollyboat) meets Harriet Braine niche pastiche (I admire Harriet Braine).

Braine and brawn vie for niche pastiche attention

Harriet Braine performs superb pastiche songs about fine art and artists – very very clever songs about Magritte, Cezanne, Van Gogh, whatever whoever. But I don’t know the subject well enough to fully appreciate them. So the full effect floats or zooms over my head, as with The Elvis Dead.

Rob Kemp says he is returning to Edinburgh next year with a Beetlejuice show.

I HAVE seen Beetlejuice.

But I am not a massive fan.

On the other hand… if we were talking about a musical version of The Wild Bunch… I would be queuing-up like the Dead Elvis fans are.

Leave a comment

Filed under Comedy

Edinburgh Fringe, Day 12: How to destroy a comedy career & other news

One thing I always tell performers at the Fringe is: Always perform, even if there is only one person in the audience, because you do not know who that one person might be.

The two examples I endlessly give are …

  • Comic Charlie Chuck, at his first Fringe, unknown, was getting very few bums-on-seats. He was thinking of going home. I told him not to. A few days later, he performed to an audience of four… Two of them were TV producers and, as a result, he appeared on two Reeves & Mortimer TV series.
  • I turned up to see a show at the old Holyrood Tavern venue. I was 50% of the audience. I was looking for acts to appear on an ITV series. The other audience member turned out to be a BBC producer. The act had gone back to London in despair because they were not getting audiences.

Perhaps nothing would have come of us seeing the act. But maybe it might.

The thing to remember is that you are not necessarily paying out large amounts of money to get money back from audiences’ bums-on-seats. You are also – perhaps mainly – performing in Edinburgh to be seen by showbiz and media people who may change your career and your life.

An empty stage in London (not the Edinburgh venue)

Today, I turned up to see an act. I had seen this English act ‘die’ on several occasions at ‘open mic’ nights in London, performing basically to other open mic acts in ‘dead’ venues. But my intuition told me the act had something that might work and I might see it in a 60-minute show.

The show was in an out-of-the-way venue and, when I arrived, I was the sole audience member.

The performer turned up about three minutes before the billed start time and, two minutes before the billed start time, apologetically cancelled the performance, saying: “It would be awkward just performing to one person.”

About to join me, but slightly delayed, was Nick Awde, playwright, producer, publisher and critic/feature writer for The Stage.

Now, maybe nothing would have come of the two of us seeing the act but, if you perform, there is a possibility, however slight, that something may result. If you do not perform, there is a certainty nothing will result.

Cancelling is never a good idea. Cancelling two minutes before the billed start time is an even more self-destructive decision.

The phrase ‘self-destructive’ is, of course, bound to lead to Lewis Schaffer, the man who, on getting a 5-star review in The Scotsman only half-jokingly said he was depressed because he feared it might destroy his image as a loser.

“Quite unlike anything else in the programme”

This week, he got a good review on the Chortle comedy website, for his show Unopened Letters From My Mother.

The review gave him three stars but started: “Look beyond the star rating here, for this is one of those shows that it’s hard to judge by the standards of a conventional Fringe offering. For some, the fact that this is quite unlike anything else in the programme will be enough to make it a must-see.”

It went on to compare him to Award-winning Kim Noble.

Lewis Schaffer decided not to share a link to the review on his social media.

This morning at Fringe Central, I bumped into American performer Peter Michael Marino. He told me:

“I found a cracked iPhone in the Lounge at the Counting House, wedged between the fireplace and the stage. I put word out to performers in the Lounge and it turned out the iPhone was Lewis Schaffer’s. Before I gave it back to him, I tried to crack the passcode, so I could access his text messages and next year I could do a show called Unread Text Messages From Lewis Schaffer.”

PM Marino – a man with saliva in his mouth

JD who runs Sweet venues told me the Fringe Office had told him that this year’s line-up included 300 more comedy shows than last year. Getting even noticed at the Fringe takes an effort of promotion.

If you don’t promote yourself, you are invisible.

The official Fringe figures are that, this year, there are 53,232 performances of 3,398 shows from 62 countries in over 300 venues, including 686 free shows with comedy making up 35% of the shows, theatre 28% and cabaret 4%.

And that is only the Fringe. There is also the official International Festival, the Jazz & Blues Festival, the Art Festival, Military Tattoo, Book Festival and Television Festival (the last being a private conference rather than public festival, but having a big influence).

People will do anything to get noticed.

Peter Michael Marino’s Show Up follows The Grouchy Club show in the Lounge at The Counting House. Have I mentioned The Grouchy Club before? The increasingly prestigious Grouchy Club hosted by me and Kate Copstick.

Flaunt it. Flaunt it.

This morning the aforementioned Peter Michael Marino told me: “I swapped saliva with Copstick yesterday.”

“I am not even going to ask…” I told him.

I may come back to this story.

Eric has filled Fringe venues under the radar for ten years

I went inside Fringe Central and bumped into Eric, who has been performing Eric’s Tales of the Sea – A Submariner’s Yarn at the Fringe now for ten years.

After a brief conversation, he told me. “I’m off now. I gotta see this werewolf.”

Nothing odd about that at the Fringe.

An hour later, I got a text from him: “The werewolf has just finished. Cracking show. You missed a great experience.”

By this time, I was going into The Hive to see Mark Dean Quinn’s You Win You Lose. A true original, he is a combination of Andy Kaufman, Dadaism, intentional shambles and (I think genuine) emotional self-flagellation. What more could anyone want in an Edinburgh Fringe show?

I had to leave quickly at the end, taking the newly-fried chips with me (don’t ask) to get to Simon Caine’s elevator pitch event at the Apex Hotel in Grassmarket.

‘Reformed Whores’ pitch their show to Robert Peacock etc

He and JD had arranged a collection of Sweet performers to get in a lift (US translation: elevator) with reviewers Nick Awde (The Stage), Robert Peacock (Wee Review) and me and they had to pitch their shows to us in the time it took the lift to travel from the Ground Floor (US translation: 1st floor) to the 5th and back.

Then I saw Phil Ellis Has Been on Ice with unbilled co-star Pat Cahill. Phil’s breakthrough at the Fringe was with Funz & Gamez in 2014 and it has taken this long for the BBC to faff around without giving him a radio or TV show.

Phil is a successful example of one type of comedy. Post-modern originality and regular, gigantic audience Whhoooaaaaahhhs!!!!

Smug Roberts is a successful example of another type of comedy.

Neither is better than the other.

For me, the Smug Roberts show was possibly the most highly anticipated of the Fringe.

In 2006, he did a one-off, one-night performance at the Edinburgh Fringe of a show he called Me Dad’s Dead. And that is what it was about. I wrote a review of the show for the Chortle comedy website and have remembered the performance ever since.

I started the review: “Smug Roberts is a Manchester based Jongleurs-style club comic who might be described, not entirely correctly, as old-school. He is clearly a very professional Northern circuit act who can play to any audience and quickly endear himself to them rapidly.”

The intervening 11 years have not changed that, except that he is even more warm, natural and extraordinarily skilful as a performer.

He is a real person in a pub doing stand-up

Smug is 57 and had a pretty-much full audience at the Three Sisters aka Free Sisters tonight in which, I think, I was the only person over 30. It was an audience of 20-somethings (at least one was 19) and they laughed virtually non-stop for 55 minutes because this is a masterclass in comedy. Autobiographical, fanciful (at home, his dog speaks to him), seemingly effortless comedy within straight, traditional stand-up, including vocal and physical bits of ‘business’.

Smug Roberts should be a national institution.

He is a brilliantly assured comic now incapable, I would suspect, of ever putting a foot wrong with any audience.

His show is called Just Me In a Pub Doing Stand-Up.

That is more than good enough for me.

Wonderful.

Leave a comment

Filed under Comedy, Performance