Comedians Archives - Page 45 of 64

Seven Questions With… John Dredge

May 11, 2016 by Becca Moody Leave a Comment

John Dredge is a comedy writer and podcaster best known for his absurd sketch show, The John Dredge Nothing To Do With Anything Show. This podcast serves as a deliberate move away from long-form narrative, incorporating surreal storytelling with plenty of musical interludes and sounds effects.

I asked John these seven questions to learn more about him…

1) Is podcasting a liberating art form?

Yes, it is for me, because it’s a medium which allows me to give free reign to my peculiar imagination in a ‘safe’ context. Nobody’s going to say ‘You can’t do that!’. The audio environment is ideal because I can create the strangest of situations and make them sound real with a few voices, sound effects and pieces of music.

2) Do you have much spatial awareness?

No, but I do have a piece of knotted string. I was thinking of exhibiting it in the Hayward Gallery but they don’t seem very enthusiastic, even though I wouldn’t need much space. On reflection I do have some awareness of how much space my display would take up. I am also very much aware of the space-time continuum, although I have never invited it to the Hayward Gallery.

3) What do you do when you’re angry?

My anger usually turns into fairly savage comedy. I tweet a lot to get it out of my system. I’m fairly obsessed with the media so it’s usually something to do with that. You can follow me @johndredge for an alarming insight into the myriad problems with my brain.

4) Who are your comedic influences?

My favourite double acts would have to be either Orm and Cheep or Sarah and Duck. I’m also greatly influenced by Bernard Tharggg who had the largest collection of cagoules in Europe.

I’ve always loved anyone who seemed comedically insane. I wouldn’t be doing this had I not heard The Goon Show at an early age – that did my head in. The inventiveness of the language, the use of sound, the creation of an imaginary world, it all had a big effect on me. I still listen to that show now. I’ve always liked Vic Reeves, who amongst other things had the confidence to present a really weird comic vision to the world. Tiswas was a big one for me. It was so joyously chaotic and off-the-wall. I want to get some of that spirit into my work if I can. Noel Fielding has similar influences to me, although he kind of puts them together in a different way, so I’ve always followed his work. I’m also influenced by the magazines and comic books of my youth like Look-in and Krazy, which nobody has ever heard of, including me.

5) Who is your favourite artist?

My favourite artist of all time is Kenny Everett, and to me his greatest achievement was the series of Video Shows he did in the late seventies. Those shows were so innovative in their use of sound and vision, and were completely unique to him. He was such a charismatic performer, and completely round the bend. I’ve always been drawn to artists who create their own world. Escapism is necessary for me on a daily basis. Make of that what you will – a large paper hat, for example.

6) What is your ultimate career aim?

To boldly go where no man has gone before – or Lewisham if it’s raining.

I’ve always wanted to make a TV version of my podcast series, a mad, fast-moving, frenetic sketch show. I thought Noel Fielding’s sketch series was fascinating, so maybe something in that area. Or in the Lewisham area. I do a lot of YouTube videos that seem to do quite well, so I don’t think it would be a problem to translate my humour to a visual medium. I would also like to make a sitcom about a family of talking pipes.

7) What aspect of your life bores you?

Having to get up at 5am to deliver pinecones to Buckingham Palace. I’ve been doing that for ten years now and it is extremely boring. How many pinecones do they need? There’s got to be a better job out there. I’m open to offers.

LISTEN TO ‘THE JOHN DREDGE NOTHING TO DO WITH ANYTHING SHOW’ HERE

SEVEN QUESTIONS WITH…

April: Comedian Of The Month #27, Spencer Jones

May 4, 2016 by Becca Moody Leave a Comment

Each Comedian of the Month on MoodyComedy is a comic who has never previously featured on the website. Reasons for selection can include various current projects the comedian is involved with, or perhaps recent appearances on television programmes or podcasts. There is no strict criteria however, as Comedian of the Month simply stands as a collection of recommendations, highlighting interesting and original aspects of certain comedians and their work.

Spencer Jones is certainly a performer that takes some getting used to. Appearing as his character The Herbert, a strange and spritely figure with bright clothes and hunched shoulders, Jones approaches the medium of stand up comedy in a way I haven’t quite seen before, throwing out customary communication norms with little regard for them.

In a recent interview with Stuart Goldsmith for The Comedian’s Comedian, Spencer states that it is important to “Let people know you’re under pressure but really happy about it,” and this mantra sums up his style of comedy effectively. The comic gives frequent non-verbal signals to audiences that he cannot quite understand how he is getting away with this; the look on his face suggests a query of, ‘Why am I here, and why are the laughing?’. Often it seems as though he has little control over his own actions on stage, though closer inspection can determine that his act is incredibly closely crafted with the chaos that Jones alludes to serving only as dramatic illusion.

It all seems very innocent; Spencer utilises music, costume and props that all have an air of the home-made about them. His facial expressions are often reminiscent of Rowan Atkinson’s Mr Bean and it does seem that The Herbert would make a fantastic children’s television character. In the meantime, though, Spencer Jones’ recent performance on Live From The BBC is still available to watch on BBC iPlayer.

For more information, visit Spencer Jones’ website and follow him on Twitter.

MARCH COMEDIAN OF THE MONTH

Review: Bridget Christie: A Book For Her Tour

April 29, 2016 by Becca Moody Leave a Comment

Bridget Christie is currently touring her latest show A Book For Her across the UK in conjunction with her debut novel of the same name. The catalyst for this show is the relatively recent launch of a BIC pen specifically designed for women, named A Bic For Her, which Christie based her 2013 show around. Unfortunately for society, though perhaps fortunately for fans of the wrath of Bridget Christie, not a lot has changed in more recent years.

Gender inequality is still clearly a distressingly vast problem despite recent minor victories such as the abolishment of the tampon tax. But the problem is slowly moving and as a result; so is Christie’s comedy. Feminist issues still hold an integral part of this latest show but it feels as though there is a branching out of comedic focus. Christie’s latest hour feels more personal than her previous two shows, with a stronger autobiographical element to match the tone of her book, with the comedian often reading directly from her own copy on stage.

Christie’s absurdist roots still form the basis of her comedic insight and you don’t have to look too closely to observe them. In fact, these surrealist, almost-slapstick routines are all the more pleasing within this new show as they aid the breaking down of the heavier, political material. Recounting her 2010 show A Ant allows the comic to revisit her surreal character-comedy foundations, much to my delight, though she frequently has to express, “I’ve not gone mad,” to a quiet but appreciative audience. Beginning her show so unassumingly, with such quiet self-assuredness, it is quite remarkable to reflect on the development of Christie’s material over the hour.

Bridget skilfully builds layers of irony, to extents where the thought of audience members misunderstanding the message concerns her so much that she needs to check all in the room are on board. Although dampening the effect of her sarcasm to some extent, a great deal of self-awareness is shown as a result. Perhaps there is a need to cover her own back, as an outspoken political comic, and this quality is endearing, as much as it is disheartening that there are people who may misinterpret. Christie also has a talent for manipulating timing, cleverly sneaking a great deal of important statistics into her routines and allowing their inclusion to become increasingly prominent as the material progresses.

Let us not forget that Bridget Christie is an ever-developing performer, appearing to change the focus of her comedy to fit the time of writing, and this is a hugely admirable trait in an act, reducing the possibility of any stagnancy. Yes, feminism is a greatly talked-about topic, and it can get boring to have to keep covering old ground as the issues refuse to be resolved, but it is to Christie’s credit that this is not her first show with the issue of inequality at its core, and we are yet to get bored. Bridget Christie is a re-inventor, an innovator and voice of absolute sanity. And she and I would like to have it noted that we both look quite like Oliver Cromwell.

BRIDGET CHRISTIE IS CURRENTLY TOURING ‘A BOOK FOR HER’ ACROSS THE UK

Josie Long: Romance and Adventure

April 26, 2016 by Becca Moody Leave a Comment

Josie Long’s latest creative venture comes in the form of Radio 4 sitcom Romance and Adventure, a programme about 30-something-year-old Josie who has recently lost her job at her local library and, having lived in London all her life, has decided to pack up and move to Glasgow. Written by and starring Josie Long and produced by Colin Anderson, it seems that Romance and Adventure has gradually evolved over a good few years, sharing its title with Long’s 2012 Edinburgh show and having had a pilot air on Radio 4 in 2014.

Romance and Adventure is reminiscent of Katy Brand’s debut novel Brenda Monk Is Funny in the sense that it works to capture the spirit of Scotland, with both writers seeming to take the view that the country is massively under-appreciated. Long’s salutation to Glasgow, however, is not so much focussed on comedy, showing perhaps that writing about what you know doesn’t mean you simply have to write about your job. And one can’t help but wonder if the job of a librarian is something that Josie Long would love to do.

There are frequent allusions to autobiography, with some of the dramatised Josie’s confessional monologues being very reminiscent of the comedian’s own stand up, which is remarkably honest in itself. But this character isn’t merely a mouthpiece for Josie’s own views. If that were so, there would be far more room made for political comment of which fans of Long are used to. Although there is the odd anti-Tory remark, causing the occasional surprising splutter of laughter, these stand out all the more against the day-dream-like fantasy. And that is what listening to Romance and Adventure feels like: living in a day dream.

As the episodes progress, London begins to represent ‘real-life’ as it were, and Glasgow a distinctly timeless Utopia that we all secretly wish we could escape to. Romance and Adventure is blissfully easy listening and shows us a more vulnerable side to Josie Long as a creative performer. With her trademark openness and relatability, Long demonstrates an admirable respect for the role comedy plays in communication and emotional wellbeing.

LISTEN TO JOSIE LONG’S ‘ROMANCE AND ADVENTURE’

SEVEN QUESTIONS WITH JOSIE LONG

TV Review: Stewart Lee’s Comedy Vehicle, Series 4

April 21, 2016 by Becca Moody 2 Comments

With every new series of Stewart Lee’s Comedy Vehicle, I find myself not wanting to watch for fear of those who may judge but then almost immediately concluding that I do not care. Yes, Lee is a spiteful comic, but he is also incredibly astute. One can’t help but admire his craft, even if you don’t agree with his viewpoints, which are of course satirically exaggerated anyway, suggesting that those who feel alienated by his comedy may actually be misinterpreting his message. And with his frequent cuts to camera, a television audience cannot help but be drawn in, without suffering the inevitable heart palpitations that would surely follow with such a predicament.

Take, for example, Episode 2, which sees Lee dryly dissect the ever-prominent issue of Islamophobia and the questions it raises with regard to mocking religion through the medium of stand up comedy. The surface layer can easily cause offence but it would be short-sighted of the viewer to assume that Lee wants us to take what he says at face value. Episode 1 sees the comic approach the topic of prostitution and though many may switch off at quips about such matters coming from someone like the esteemed Stewart Lee we see before us, we hold out for lines that release the tension, such as empathising with those who “provide a service people crave and still be despised for it”.

His observational stints are deliberately placed throughout the series, disguised as digs at others in the comedy industry but serving a greater purpose: as a release of comedic tension. It may seem to be a strange decision, but one that shows great integrity, for Lee to limit his observational material to the extent that he does as he could effortlessly rely on this fine-tuned skill for significant segments of the programme. But it appears that he would interpret this creative decision as laziness and if there is one thing that Stewart Lee abhors (though of course there can’t only be one thing) then it is laziness. This can be appreciated by many, but sometimes it feels like his comments get a little too specific, a little too personal. I genuinely don’t believe that his foremost intention is to cause harm to those he ridicules for it is, most often anyway, their ideas he ridicules rather than their personalities. It seems that offence is a necessary by-product of the message and perhaps we shouldn’t cower from comedy that offends.

All that said, I don’t feel as though I can trust Stewart Lee; perhaps what we read into his jokes are not what he truly means, but I fully appreciate where he is coming from on the majority of occasions, if I am, in fact, correct in where I think he is coming from. A part of me wishes that Chris Morris’ segments were longer or more frequent during each episode, but perhaps this would dilute the impact of Morris’ scorn. Antagonism to say the least, Morris’ role is to demolish any self-righteousness in Lee’s character that has been allowed to fester during his stand up performances on film. The shock of hearing an interviewer speak so rudely to his interviewee, as though there is genuine contempt for Lee and his comedy, is yet another smart release of tension, often resulting in full-blown arguments and a lot of swearing.

Many have accused Lee of making comedy that is self-indulgent, particularly, as he mentions, “those younger comics they have now,” but only a small amount of closer analysis can enable us to see that there is a reason behind every decision. Stewart Lee overtly works to manufacture an ‘in group’ and an ‘out group’ through his stand up and can I be blamed for wanting to be in the former? I write this on principle, knowing that many would avoid writing an article about the man who famously slams all critics of his work, and coming from a wholly appreciative perspective. I still pray to God that he doesn’t read this.

WATCH SERIES 4 OF STEWART LEE’S COMEDY VEHICLE ON IPLAYER

The Glee Club Comedy Night, April 2016

April 19, 2016 by Becca Moody Leave a Comment

Stephen Bailey © Steve Ullathorne

Is Birmingham Glee Club the best comedy club in the country? Quite possibly. The latest ‘Best In Live Stand-up Comedy’ show at the Glee is a showcase of four acts as well as compère Andre Vincent.

Stephen Bailey has a rare charm about him. A young face paired with an air of experience makes for a very enticing performer. He speaks with a quiet confidence that suggests this man is a born performer; showing an aptitude for conversing with an audience as a collective. There is an undeniable hint of showbiz behind Stephen’s demeanour but also an endearing realism. With a twinkle in his eye and a manner that suggests both innocence and filth, this comedian seems to demonstrate experience beyond his years. And, having recently supported Katherine Ryan on her UK tour, that comes as no surprise.

Harry Stachini only began his comedy career in 2013 and has evidently been doing his homework. With admirable competence in front of a rowdy crowd and an obvious appreciation of joke and narrative formation, Stachini was indistinguishable from the other acts on the bill in terms of quality of material and stage presence. Next up comes Gareth Richards with an interesting blend of odd mannerisms and relatable observational material. With a silly and playful tone, an audience feels instantly obliged to humour him, although he is well aware that some of his crafted punchlines are cheesy and the addition of a musical interlude helped to maintain this illusion of a somewhat variety act. Richards throws in frequent narrative curve balls whilst playing up to a ‘loser’-status that ensures his audience is on board from the very first, “Everyone say hello to Gareth”.

And finally Andrew Bird; self-depreciating and confessional, Andrew appears to be the voice of reality, accepting and embracing the turmoils of relationships, fatherhood and technology. His qualms about society are both easy and enjoyable to follow. Bird gets caught up on many of modern life’s minor irritations, picking up ideas and running with them with impressive energy.

BOOK TICKETS FOR THE NEXT COMEDY NIGHT AT ONE OF THE GLEE CLUBS ACROSS THE UK

Review: Tony Law: Frillemorphesis

April 13, 2016 by Becca Moody Leave a Comment

It sounds like Tony Law has had a turbulent year. He returns to the stage with an air of a wise traveller, declaring that he has been doing “a whole lot of therapy lately” and has recently given up drinking. He states that we are all mainly there to “see if he’s alright,” which, it may surprise Law to hear, rings partly true.

An enlightened Tony Law is perhaps even more fascinating than his more bashful, younger self. He’s just as enigmatic, just as physical and certainly just as shouty, but his latest hour brings more personal elements than audiences have previously been subject to. That is not to say that his show is free of hilarious gimmicks and props: an extremely heavy cape, the plastic head of a horse, Mickey Mouse gloves, a trombone.

Tony Law

There are more down-to-earth elements of Frillemorphesis than I have noticed in previous shows. Tony frequently references his family pets, time spent at last year’s Edinburgh Festival and even the car he drives (it was a shock to most that he is even allowed on the roads, judging by the fact that half an hour previously he had been energetically impersonating a horse).

It is intrinsically important that we don’t get too caught up in Law’s narrative, as this often leads to confusion. The trick is to let yourself get swept up and trust that this comedian will tie up all the loose ends eventually. I don’t know how he does it but the mayhem is invigorating. He’s very aware of his own absurdities but doesn’t seem to care in the slightest. And though his surreality may alienate audience members who don’t follow, it only serves to strengthen the sense of community within those who do: Tony refers to his stand up as “a bit of a group effort,” and in many respects he is absolutely spot on. The audience of a Tony Law gig is a hell of a lot rowdier than that of many other performers I have seen; we reflect his own energy and enthusiasm. In this sense, I believe that Tony Law is comedy at its finest. And all over by 9.30pm.

SEVEN QUESTIONS WITH TONY LAW

Review: Bramall Comedy Night, Craig Murray, Damian Clark & Nathan Caton

April 9, 2016 by Becca Moody 1 Comment

This month’s comedy night at the Bramall at the University of Birmingham sees a change of room, with a smaller audience congregating in one of the ‘domes’ on the top floor of the building, making for a more intimate comedy gig than the main hall allows. And with most of the university’s students being at home for Easter it soon becomes clear that this is, in Nathan Caton’s words, a very “non-student student gig”.

Craig Murray compères (failing, I was later informed, to mention that he is in fact the face of the Plusnet adverts). Here we have a prime example of a comedian who knows how to work a room; there was none of the anxiety that often comes with an MC’s opening skit, where they inevitably pick on a few unfortunate audience members. Murray did speak to many members of his audience but his friendly demeanour eliminated any nerves. His anecdotes are packed with energy, effortlessly finding hilarity in the mundane whilst also proving himself to be excellent at bouncing off the audience’s ideas, allowing an enjoyable atmosphere to emerge.

The first act to be introduced is Australian Damian Clark, a powerhouse of comedic frenzy. Almost childlike in his excitement at apparently everything he experiences, he is incredibly endearing as a performer. Damian was able to comment on British culture whilst being one step removed from those he talks about, having only lived in England for four years, and he doesn’t claim to understand everything about the culture, which is in itself something not often seen within stand up performers. Getting worked up about seemingly monotonous aspects of life, Clark’s material builds in its absurdity as it progresses, even becoming rather sinister towards the end of his set, which, he notes, ran over considerably, perhaps by almost fifteen minutes. Neither he nor the audience seemed to mind.

The final act on the bill, as alluded to earlier, is the markedly laid-back Nathan Caton. His perspective on numerous political and social issues is refreshingly down to earth, and he certainly does not fear stating controversial opinions, such as his sarcastic retorts about allegations against the late Michael Jackson. Not only can Nathan back up his bold claims, he also manages to squeeze every last laugh out of them, and one can’t help but wonder if he is saying what the majority of us are thinking anyway. Nathan Caton is touring the UK with his latest solo hour this year; purchase your tickets here.

BRAMALL COMEDY NIGHTS

The Quest For Wonder Series Preview

April 7, 2016 by Becca Moody Leave a Comment

The Quest For Wonder is a new web series written by Trent Burton and stand up comedian Robin Ince and directed by Trent and Melinda Burton, pitched at all ages, with the core audience perhaps being parents and primary-school-age children. The star of the show, alongside Ince himself, is physicist and presenter Brian Cox; the pair having blossomed throughout thirteen series of the Radio 4 programme, The Infinite Monkey Cage, which began in 2009. This mini-series of six bitesize episodes makes for satisfyingly easy viewing, as a result of a sharp script and artistically pleasing puppetry production.

Cox and Ince present us with a declaration of knowledge in the most sincere of forms. The Quest For Wonder seems to fill the space left where every one of those rare, genuinely passionate teachers once stood. This is for those teachers that leave their egos at the door and make it their mission to instil some form of passion in their students. All that said, and much like with some teachers I’ve encountered, I found myself willing one them, one of the puppets that is, to swear. Though perhaps that has something to do with the fact a stand up comedian is part of the cast.

The self-mockery is in abundance, Brian and Robin voice their own puppets, but there isn’t a sense of caricature about the humour. The writing shows an astute awareness of audience perceptions of Brian Cox’s quirky presenting style, whilst adding surreal elements to his character, stemming from the fact that the physicist has lost the physical manifestation of his ‘Wonder’; a strange, blue, hamster-like creature, no doubt much appreciated by younger viewers. The characters themselves are bickering and knowledge-obsessed but successfully skirt the borders of irritating. And while the laughs are plenty, there is also room for a transaction of knowledge to take place with both characters frequently bringing relevant and interesting scientific concepts into the discussion.

The Quest For Wonder is a fantastic new initiative to support the work of the Science Museum and help encourage people of all ages to take an interest in all realms of science.

WATCH ‘THE QUEST FOR WONDER’ FOR FREE ONLINE FROM THE 7TH APRIL

March: Comedian Of The Month #26, John Moloney

April 2, 2016 by Becca Moody 1 Comment

john-moloney-2010-june

Each Comedian of the Month on MoodyComedy is a comic who has never previously featured on the website. Reasons for selection can include various current projects the comedian is involved with, or perhaps recent appearances on television programmes or podcasts. There is no strict criteria however, as Comedian of the Month simply stands as a collection of recommendations, highlighting interesting and original aspects of certain comedians and their work.

March’s Comedian of the Month is a well-experienced performer on the stand up comedy circuit, an act who brings with him a peculiar veil of calm suggesting the reassurance of experience.

London-born stand up John Moloney speaks in a markedly droll, downbeat tone, often reacting as though he cannot comprehend why audiences find him amusing. A front, of course, because with a back-catalogue of strong one-liners, this comedian is certainly confident in his material and taking his time with the delivery allows the impact of each to hit harder. With a skill for multi-layered observation, Moloney’s comedy caters to a wide range of audiences, entertaining those who are content with an arguably more simplistic joke-writing formation whilst also pleasing those with an eye for detail. This shows a self-assuredness to his performance, demonstrating an ability to put audiences at ease.

It is no surprise, then, that he was included in Channel 4’s list of ‘100 Greatest Stand Ups’ back in 2006, but this makes it all the more frustrating to note that this comic is not a regular face on television. Moloney, it can be argued, fits within a strange sub-category of acts in the comedy industry, as a comedian with very accessible material, yet who isn’t given the platform to reach the full extent of that potential audience.

There is no shame in being a crowd-pleaser and a new face on the television circuit is always welcomed by the majority of us, particularly as I feel increasingly bored to see the same faces on every panel show and variety show out there. There are enough acts to choose from, surely we can afford to change it up a little bit by now?

For more information, visit John Moloney’s website and follow him on Twitter.

FEBRUARY COMEDIAN OF THE MONTH