Ian Smith brought his critically acclaimed, Edinburgh Comedy Award nominated show, ‘Crushing’ to the Soho Theatre, London. The dishevelled Yorkshireman delivers a masterful chaos, having crafted a show that hits the high notes and tantalises audiences with prime observational raconteuring.
The theme is ‘stressing less’. Hilariously, his attempts to stress less by unpacking various stresses in a comedy show gives the impression of a car crash in motion. This is exactly what he intends because we are in the hands of a skilled comedian. The happy accidents are cultivated by Smith, his hand firmly on the gear stick at all times – driving us over the edge only to land on the road beneath, still on track. As Barry Humphries says about chaos in comedy, you have to steer into the skid. Smith not only steers into skids, he is actively looking for them, revelling in the twists and turns and dodging wildlife on the highway like a truck driver wired on coffee pulling an all-nighter.
He deftly mines a variety of topics for rich comedic payoff. Whether it’s a defecation in the bed of your hotel room by the person who booked it before you, or dental occlusion splints (mouthgaurds) or the inneffectiveness of floatation tanks to help you de-stress – Smith will take it apart, put it back together again and it still will be f**ked )(but at least it’s funny. He doesn’t just visit upon a clever perspective, he crushes it until it’s bent out of shape and you marvel at the fact you never saw it that way before. You’ll have to see the show to find out what happens to a literal car that he travels to Slovakia to de-stress with, although given the title of the show and what he does to every topic, you don’t get any points for guessing. A top-notch night out.
Well, that’s a wrap for the Edinburgh Fringe 2023. Between me & my team, we’ve bang’d out some reyt reviews – with especial credit to Ewan Law & Sam Pressdee, our comedy specialists. That’s a lot of comedy, a lot of comedians, & a lot of people who think they’re comedians, but shouldn’t really bother.
I enjoy a laugh n’all, & I’ve been reviewing comedy at the Fringe for, like, ten years, ever since 2013, when let’s just say osmosis has come to fruition. This year I thought to myself, dya know what, I’m gonna have a pop myself. Turns out people were laughing a lot, despite my racism, homophobia & mysogony. But, I mean, the Burnley accent is, even if I say so mysef, the nicest in the country by far, & the jokes utter’d by my 76-year-old pensioner avatar, Damo Brogden, really are timeless joys, so no wonder!
The plan is now to write a trilogy for next year, to do a part a week over the three weeks of the next Fringe. After my wee run at the Strathie in Leith, part one, TAKE MY WIVES, is complete, with the sequels yet to be created. I already know the titles tho – FUMBLEBEES & TINDERWOLVES will tell the story of Damo Brogden’s first adventures tho the world of internet dating, after Wife Number Five leaves him. The final part will be call’d WIFE NUMBER SIX & tells the story of Damo Brogden finally finding his true soul mate…
NYC-based comic, Natalie Perlin is a goddess of gallows and had a tremendously successful run at the Edinburgh Fringe 2023. She brings a courageous style, a leopard-print dress and the novelty hook of very large breasts, allowing her to subvert expectations and deliver maximum darkness and shock value in her material.
I attended on her last night and the crowd was decidedly demure, inexplicably so given the blurb clearly articulated what kind of show it was and it was a Saturday night! I would have thought people would be liquored up and ready to rock but they seemed prudish and stiff, which totally clashed with her style.
Nonetheless, I was able to enjoy her writing and the playful, innocent spirit with which she sets you up for the shocking twists of humour. I love a dark comic and she has earned her stripes, weaving a twisted tale; a weird and f***ed up world we wouldn’t encounter anywhere else.
The curiosity that we all have for someone with large breasts is used wonderfully by Perlin, with the satire being that she’s of course a regular human and the breasts don’t change anything. It’s other people’s judgements and tendency to define her by a physical characteristic that is the darker aspect underpinning her show.
She seemed to be somewhat discouraged by the lack of enthusiasm of the crowd and perhaps the exhaustion she and the audience were feeling at the end of a long fringe – who knows? I thought her work deserved more exuberance from attendees but nonetheless, perhaps she could also develop better tools to win over that sort of hostile audience, then she would be a seriously top-line comedian.
Everyone applauded in the end but I wonder whether they might have missed out on getting more involved and making the night special. It’s not just her breasts that are gigantic but also her strength of character and courage to perform the vital service of showing us the humanity on the other side of people’s darker tendency to objectify.
Chemistry is a very important thing. It keeps us all alive via mysterious & universal mechanisms, & when flowing between two people can often-times instill performance art with the finest of vigours. So to Emma & Harry, a symbiotic sketch show so full of chemistry & energy, it is as if we were watching the singular genius of some great comedy mind bursting into schizophrenic life in the Swiss sanatorium it finds itself.
I want to go home, I’ve soil’d my trouser pants
To keep up with their minds & physicality one must plug our mind’s receptors into whatever the mad machine it was that created Emma & Harry, & simply enjoy the ride. You really can’t pause for breath or idel thought – it’s that tight a show, like. A great opening touch is bringing the entire audience as guests to their 25th wedding anniversary, a real ice-breaker which gets us all on side immediately. So well comfy in our seats, now, we sit back & simply enjoy Emma & Harry’s constantly moving, breathtakingly scintillating whirl of intelligently crafted nonsense.
You guys don’t care about tennis, do you, all you care about is our dulcet tones
Poweprosing, hyperactive character comedy of an extremely high quality indeed, the story as far as I gather’d was that last year they were both in sketch comedy troupes, the Leeds Tealights was mention’d, fell in comedy love at first sight, & created a show all of their own. So that’s what Emma & Harry is, Level two stuff, full of deeper, more evolv’d sketches created by two people whose chemistry is thro’ the roof!
As I’m writing this Pam Ford would have just completed her run at this year’s Fringe. She is one sound lady, & as a whirpool of energy balls buzz about inside her chakras, we are all transported rather comfortably into her comedy creation. This is bascially Pam herself, who gives us a lovely blend of personal anecdotes & well-crafted jokes, which heats up the room to a lovely appreciative temperature.
There are sporadic moments of pathos, but of course that is the nature of her show – she work’d in a care home, & thro’ the Covid pandemic as well – such topics not generally being sources of amusement. But the rest of her stuff is rich & varied & at times very, very funny. Pam is an excellent conjurer of her characters – all the people she meets along the pathways of the show are brought to life with perfect realism. This is down to the fact, I garner’d, that the spirit of being alive & enjoying life is thoroughly embedded in Pam Ford, & I feel she’s realis’d that bringing such energy to the people via stand-up is her natural calling.
Sod caffiene, I think we’re all better off with a wee dose of Pam Ford to start our day – I was in a reyt good mood after I left the City Cafe yesterday, & despite the sunshine thought I’d go & see some more comedy, so inspir’d to just enjoy laughing had Pam left me. Thanks doll!
Australian-born, London-based comics, Patrick and Hugo McPherson, are two identical twins joined at the quip. They’re tall, handsome blokes with superman jawlines, dual passports, dual accents, sweet dispositions and lighting fast comedy instincts. Their show, Pear: But Braver, is fantastically satisfying from go to whoa, from get go to let’s go, everything sat in that sanctified comedy sweet spot of ‘unbridled joy’.
There is something seriously special about this paring. They’re my pick of the festival – super endearing and they set the tone so well from the outset. They have killer timing as they trade off that inimitable connection that only identical twins can have. They’re literal umbilical brothers and seem to be able to read each other’s thoughts and execute the humour as if from one mind. It’s a kind of cohesion that only comes about if you’ve had 30+ years of experience since you played your first womb together.
The pacing in the scenes, coupled with the show design, quickfire sketches (that never overstay) and sarcastic self-referencing all work delightfully well. The cues are brilliantly ironic and perfectly synchronised with “Johnny” the lighting guy. They’re just amazing writers. Innovative, clever and chock-full of gold moments – gifts that keep on giving long after you’ve left the theatre. You can tell they’ve been cultivating their own style and material for yonks, being circumspect and judicious in sorting for only the highest quality premises, hilarious subversions and satisfying punchlines. There’s no pushing or over-reaching, they’re just effortlessly funny.
The theme of the show is “being braver”. It was inspired by a sucky review they got down-under that was clearly a low blow. The reviewer said their previous show, ‘Pear’ was good but wished they were “braver”. Well. This show is certainly them being brave and reveling in fearless abandon – ticking off a list of goals for the show that qualify in showing up the critical reviewer. They note the adage, “those who can’t do, review”, which I was laughing at till I remembered I’m the reviewer, but despite wishing it wasn’t accurate, I did hold to my principles that as long as you’re funny, you can say anything you damn well want and be rewarded for your bravery.
And rewarded they should be, with sell-out crowds and bigger stages. You must see this dynamic duo. Since they shared their first strong opening, they’ve been building a wonderful brand of comedy and we’re bound to see them conquering the culture in years to come. I can’t wait to see their next show and I just might use my last precious few nights at the Fringe to see them again. You should too but not before I’ve got my ticket please – very likely to sell out. In one sentence, it’s a riotously fun night out.
“It may have been men who built the world, but it’s women who are going to save it.”
Luisa Omielan is a powerhouse. She has just released her critically acclaimed show God is a Woman as an online special. Self funded and self produced, Luisa’s success is resting on the unwavering love of her die hard fan base.
“She is oxygen to the audiences” Lenny Henry
An Edinburgh Fringe legend she broke through at the festival in 2012, with her phenomenal show ‘What would Beyonce Do?!’ Which was later made into a BBC special. Credited with starting a new genre of comedy she went on to write a book, three more critically acclaimed one women shows, fronted her own BBC television show called Politics for Bitches, as well appearing on Live at The Apollo and being named a Bafta Breakthrough Brit.
She has worked hard for over a decade and this year she returns to Edinburgh with two work in progress shows. The two projects are polar opposite in nature. In ‘Bitter’ she purges her frustration at the comedy industry, an attempt to tear down the outdated structures holding her back. ‘God is a Woman The musical’ is the opportunity to see a master at work in the building of something new, and even be a part of the creative process.
Luisa is one of the most compelling comedians I have ever come across, embodying the true spirit of the fringe. ‘Bitter’ details how the industry has given her a hard time but she is showing courage meeting her audience where she is at, creating the deepest sense of intimacy I have ever seen between performer and fans.
The game is rigged and she is tired of playing. She talks about how women are treated differently than men in the industry. She cares deeply about her audience, but her attention to detail has led industry bosses to call her a diva, difficult and demanding. A powerful rant, detailing how her male counterparts have had it so much easier, results in applause.
“She is brilliant, I hate her” – Ruby Wax
Citing comedy as a force for healing, Luisa believes laughter is a universal language and describes how it helped her when she was growing up speaking polish. She’s 40 now and already experiencing ageism. She has given it her all, subscribing to the philosophy, “Don’t get bitter, get better.” A strong and independent woman, some people in the industry didn’t like her saying no. A woman of integrity, she refused to do a TV show because it wasn’t in alignment with her values.
Giving us one woman shows before they got so popular. Luisa tells me after the show that years ago London Hughes, now a Hollywood star, approached her and told that she was inspired by her work. It doesn’t surprise me that London opted to leave the UK. Luisa explains;
“TV decision makers continue to push the sexist trope that women aren’t funny, by not booking funny women, opting instead for reality TV stars, sports personalities and presenters. Whereas male comics can be seen on every channel travelling the world with their Dad.”
I tell her she belongs on Netflix. I’m not the first to suggest this, a fan previously gathered around 3000 signatures in a petition to get her there but as of yet, to no avail.
She’s noticed how the festival has changed over the years. It’s dead in comparison to the last time she visited before the pandemic.
“The UK is dying. Everyone is depressed. This is what happens when you put Nepo babies in charge of everything.”
When I pop in to see her musical project, Luisa has got the audience dancing along to a Taylor Swift song before the show has even started. The energy is electric.
Based on the lost gospels of Saint Mary Magdalene. She wants this show to be the female version of the Book of Mormon and describes it as a mating call to producers and investors.
“Britain does not like women who like themselves and yet audiences CRAVE them. Corporations are finally waking up to the buying power of half the population, think Taylor Swift, Beyonce, Barbie. It’s women’s money that is driving economic growth.”
Luisa could be the comedy counterpart to these global female megastars. The potential of this show is massive. Everyone is rooting for her as she passionately sings a self penned power ballad. It’s really something special, an empowering piece of work.
“Most importantly, it highlights the most gaslit and misrepresented woman in history: Mary Magdalene. Undermined, dismissed, mis-quoted and slut-shamed whilst the men get all the glory. Sound familiar?”
Over a decade since she broke through with ‘What Would Beyonce Do?!’, despite being tired and feeling that the comedy establishment is against her, Luisa shows no signs of giving up. Lit up by her fans, Luisa Omielan is still a firecracker. Industry doors may have been slammed but she’s taking her power back by bringing these projects to the Edinburgh Fringe Festival and releasing her online special. All of her previous shows have had five star reviews and based on the reaction she is getting from her audiences, I am sure there will be many more to come. Go get em Luisa!
Samatha Pressdee
Catch her last remaining work in progress shows at the fringe;
Luisa Omielan: Bitter, Monkey Barrel 5.45pm £10.
Luisa Omielan: God is s Woman The Musical, Laughing Horse @ The Counting House, 8.30pm Free,
“We are all made of stories… and stardust.” Expect the unexpected from the gangster of glam, the master of the obtuse, Simon David, as he weaves the heartfelt amongst the haughty for a positively naughty night out.
This lord of the lewd can exquisitely turn a phrase and it’s a blistering pace for both hands, trying to stay in the cart as the roller-coaster rockets you around an outrageous story. Quick fire delivery keeps your brain chasing as the cultivation of chaos leaves the audience gasping for grip, gears changing every few minutes, at times it seemed a little excessively so but that’s the style. The arresting title, Dead Dad Show, lays down the gauntlet and announces David’s bravery to the world. It’s a necessarily circuitous journey – not actually morose at all and artfully handles what is a painful part of life – turning it into a celebration of joy.
The puns fly thick and fast, layered self-referencing with lighting and sound cues synchronised perfectly, directed with precision design by Chris Larner. It’s molten mayhem as David delivers twist after turn, turn after take and takes turns in twisting everything till all perspective joins us in circling the butthole as we’re sucked towards death. What? Exactly. It’s marvellous. Don’t worry.
It’s hard to explain the method, but it’s rudely revelling in random, and then suddenly landing some starkly direct and down-to-earth material, leaving you to wonder what is real and what is exaggerated. From his ground-breaking fashion innovation, the male skirt, to his development of a new play outlining his emergence as a cultural icon in NYC, to his satirising of the obligatory transphobic Netflix special, to his father’s cancer diagnosis and death, even difficult and painful issues can be subsumed into the celebration of absurdity simply by being made hilarious. Powerful.
The meta-narrative being that you make your own fun and your own worlds via your imagination and freedom – which can overcome even the greatest adversities. In fact, there’s no freer performer that I have seen at the fringe. David’s freedom is infectious and in the days after the show I have felt the urge to take more risks and go for things.
The impact of his style is manifest because there’s simply a lot of love underpinning David’s outrageous and elaborate brand of comedy. Love for the audience, love for performing, love for his family and love for the ridiculous nature of life and the important mission of not taking it too seriously.
If you’re going to a Sikisa show, prepare to be rocked. She’s got a majestic presence and owns the space. Referencing her South London roots and smoothly rolling through a string of colourful stories, she paints a rich picture of living life to the fullest and taking no prisioners.
She introduces herself as a comedian and burlesque performer but THIS IS NOT A BURLESQUE SHOW so don’t expect any burlesque – you haven’t paid enough. Still, she undresses metaphorically and gets the crowd giggling uncontrollably as she takes us through entertaning anecdotes of awkward encounters and bad dates.
I grew up on the other side of the planet but I felt like I was at a London house party and she’s showing me around. She’s the big sister everyone wishes they had and makes everyone feel comfortable. She’s at home being both outrageous and insightful and positively sparkles with her passion to perform that drives the show.
She struck a close rapport with the crowd and her comedy would better resonate with London folk given the inside references. The hour started to drag but she knows how to bring it home. I wanted more humour from the first half but was thankful that she knows how to build to the climax. Remember though, this is not a burlesque show and you will not see any burlesque! Got it?😉
It is clear that Helen Prior is a lover of life, a vigorous explorer of all it has to offer, including her recent entry into the world of comedy performance. Not your classic comedian by any means, Helen is an educator at heart, & after an hour with her sophisticated confessional comedy at this year’s Fringe, one can only feel both entertain’d & culturally enrich’d. For example when she show’d me Putin’s ancesteor in a Van Eyck 1422 AD painting was well cool, like, I’ve already put it up on facebook.
Her show is call’d Sex, Art and the Art of Survival, & is a blend of biocom & art history talk, complete with well-pixelated images of the paintings she discusses. Dali is there, Gainsborough is there, & there’s also loads of stuff I’ve never seen or heard off before – its a visual & fibre-filling treat really.
On top of this noble platform, Helen also possesses spoonfuls of rampant sexual energy, & at the heart of her show we are treated to a lengthy pictorial series of vaginas & penises. She must have used the word cun! about 10 times in a minute or two – in the UK normally someone would say it once, then look around briefly & awkwardly to which social division each person has gravitated towards following the bringing of the profane elephant into the room, before realising they might actually have to apologise. Not Helen, tho’ she’s more than happy to use the word, & why the hell not?
Jamie McCartney’s ‘Genital Art’
As a spectator I thought the start was a little off, perhaps showtime nerves, or perhaps it was my brain getting a grasp on her Russian accent. She’s a very eloquent lady, but it took me a while to feel her true resonance – like when I finally understood Rabbie Burns, once I’d penetrated his lowland Scots, was in fact an absolute genius. But come the middle of Sex, Art and the Art of Survival, I was really flowing along with the show, right before it took a somewhat darker turn when Helen found herself battling ovarian cancer.
But, & blessingly, she won, & here she is now in Edinburgh, sharing her story & winning our hearts. After the performance, Helen talk’d about cancer with some of her departing audience, a really nice touch, & I can see how Helen’s victory over the disease will be inspirational to others.
Helen is a great presence & an entertaining watch to boot – pure Fringe cocktail, chaperoning many interesting ingredients into her performance art. Full of erections & ressurection, altho’ Sex, Art and the Art of Survival is not the funniest – yet – comedy show around this year, it is certainly the most cultural one I’ve seen, & for that I applaud you Helen. After only one year with Thalia, you’re off to a great start,
Mumble Comedy 