Live Comedy

Review: Just the Tonic at Leamington Spa

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Just the Tonic’s comedy night returns for its second instalment at Leamington Spa’s Assembly. The whole affair is a smoother operation this time. There are no winding queues outside in the cold, and the revised seating arrangement provides a far more intimate setting. Despite there being less punters this month, the room feels fuller, with the rows of seats more central and the sides of the room blocked off.

Compere for the evening, London-born comic Tom Toal, is a natural. He works hard to generate an amiable atmosphere, chatting to individual audience members comfortably, without the stuntedness that can often come with crowd work. The snippets of material he scatters through the evening feel appropriate for the type of gig, and his ability to transition between heartwarming family anecdotes and sex gags is surprisingly refined.

Cheerfully self-deprecating, Simon Wozniak is a highlight. Each line of material is perfectly worded, with layers of outrageousness building in gradual increments. This is a comic who is confident with joke structure and can use his skills to present unpredictable punchlines which take the wind out of his audience.

But star of the show, perhaps rather shockingly considering the type of occasion, is absurdist live wire Paul Foot. Tantalisingly obscure, Foot has a kind of weirdness that is timeless. In fact, it’s refreshing to see just how well such a performer can do in front of a weekend club night crowd, as this is certainly not his usual scene.

With consistently unpredictable punchlines, quick gear changes and varied subject matter, it would be hard to find this buzzing housefly liveliness irritating. The opposite, in fact, is true. The predominantly innocent nature of the material makes Foot unexpectedly endearing. The charm comes in his sly looks out to the audience, the way he tosses his spaniel-like hair, the devious grin that follows his dead parakeet joke. Where his energy will take the room is unpredictable, and that’s the joy of this comic.

Just the Tonic returns to Leamington Spa’s Assembly next month, featuring Gary Delaney and Jonny Awsum. Tickets are available here.

Interview: Darrell Martin (Just the Tonic)

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Just the Tonic is launching a new comedy night at the Assembly in Leamington Spa this Saturday (8th February 2020). In anticipation of the launch, MoodyComedy had a chat with Just the Tonic owner Darrell Martin about this exciting new venture.

Hi Darrell, can you give us a brief overview of how Just the Tonic was born and how it has developed over the years?

It started because I loved comedy and there was none of it in Nottingham where I lived at the time. I had worked in a nightclub called Venue and had seen how people put things on. I had also run a few things myself before. So, it seemed like a normal thing to do. The reaction from most people I knew would tell me it wasn’t, but it was a recession, I was unemployable, and had nothing to lose.

Why is Leamington Spa your latest place of choice to launch a Just the Tonic venue?

Andy, who has reopened the venue, knew of Just the Tonic from Nottingham. He approached me and told of this spectacular venue. I looked into it and realised that I could probably put on a pretty strong monthly event that could afford to pay some pretty good comedians to appear there.

What are your plans for the opening of your Leamington Spa venue?

I plan to put on a brilliant line up (which we have managed to do) and I plan to fill it up with laughing people (it is getting to be pretty full already… just got to make them laugh now!).

What is the ethos of Just the Tonic? What values do you hold close?

I try to put on quality comedy nights, with the best of the established acts plus the best of the newer acts. We try to keep the price as reasonable as possible for the audience and we try to put on events that are as much of a joy for the comedians as they are for the audiences.

How has your own experience working in/performing comedy helped with your work as a comedy club owner?

I can walk into a room and pretty much out work out whether it would be suitable and how to best use it. Just like when you meet a hairdresser, they will be looking at your head, or a plumber will be looking at the pipework in your house; when I go into a pub or a potential venue I am thinking ‘good sight-lines, sound desk there, toilets are over there, where’s the fire exits, too many pillars…’ Quite dull really. Also, working in comedy, I know most of the comedians so can ring them up and gently cajole them into a gig every now and then. Hence Leamington Spa, a splendid line-up of comedy for the next 6 months with much more to come.

Does each of the Just the Tonic venues have a different feel, or is the vibe pretty consistent?

We try and keep the vibe consistent. Similar pre-show music, same start-up and intro tracks. We try and treat audiences fairly maturely at each place, and we also filter out the troublemakers (drunken people who seem to forget the whole night is not about them). We really do just try and make it a pleasant and fun night out. Our choice of compere is quite important. We use the ones that really engage with the room.

What are your hopes for this newest Just the Tonic venue?

I hope that it is full every month with people laughing at us. What more could a comedy promoter ask?

Tickets are now on sale for Just the Tonic’s Leamington Spa launch night, featuring performances from Reginald D. Hunter, Guz Khan, Andrew O’Neill and Matt Richardson. For more information, visit Just the Tonic’s website.

Review: Tim Minchin – BACK

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© Damian Bennett

Tim Minchin is currently heading towards the end of an entirely sold out UK tour, his first since 2011, and he certainly receives a warm welcome from his British fans. Having written the music for the stage shows Matilda the Musical in 2010 and Groundhog Day in 2016, and spent four years working as a director on an animated film in Hollywood that got suddenly scrapped, he has returned to the medium that made his name.

Minchin begins with a new song, If This Plane Goes Down. This new addition to the comic’s musical repertoire serves as a perfect introduction to the show, combining dark, fatalistic humour with beautiful chord successions and heart-felt reflections on life achievements and the importance of family.

Minchin’s musical aptitude is something to be marvelled. Often improvised, he works the piano with his whole body, making the body of the instrument as much a part of the show as his own. He stands high on its stool, dances on its lid, he often hits its keys with his bare feet. The piano becomes an extension of the comic himself, giving every song, every note, an undeniable fluidity. Tim’s performance, as always, is highly physical, and his ability to work the large stage, and the room, comes across as effortless.

The reveal of a seven-piece band is truly a memorable moment, elevating the performance of Rock n Roll Nerd to full-blown musical extravaganza. Minchin’s musicians are enigmatic and enthusiastic, and it is thrilling to see the formation enjoying performing together. What is particularly joyous is the new twist this newly-formed collective gives to Tim’s older classics, from If I Didn’t Have You to the popular favourite, Prejudice.

It would be easy for this kind of comedy to come across a tad pretentious, but Minchin always balances this tricky line. He candidly and matter-of-factly confides in his audience about his mental health and the responsibility he feels as an artist who has kids to feed. He’s also, as ever, not afraid to look the idiot. This is most evident, perhaps, in his latest rendition Cheese.

With a self-confessed fixation on double entendre, paired with a knack for bullet-proof argumentation, Minchin is a master of articulating his anger and frustrations in a heartfelt, often gleeful way. Tim Minchin is, most definitely, BACK.

Edinburgh Review: Werewolf: Live

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The popular live game show, Werewolf: Live, has recently undergone a dramatic transformation. Contestants this year are the Fringe’s own comics, rather than members of the audience (as had been the case in previous years).

It’s a truly refreshing palate cleanser from all of the straight stand-up, but audience members are still treated to their comedy fix. This evening in particular there are seven comics taking to the stage: John-Luke Roberts, Nathan Roberts, Andy Field, Cam Spence, Eshaan Akbar, Stevie Martin and Adam Rowe.

Front man Jon Gracey revs up the suspense of the game, whilst also reminding us just how ridiculous the whole concept is. Amongst this group of seemingly innocent villagers lie two hungry werewolves, who will be picking off the villagers one by one until they are found out, or until there are no longer enough villagers left to stop them.

This is a game where emotions run high. Stevie’s extreme exasperation at being called out despite not being a wolf, and Eshaan’s disappointment about being a villager for the sixth time are particular highlights. That’s not forgetting John-Luke’s interesting tactic of randomly calling out someone from the start, and then sitting quietly and stroking his moustache for the rest of the round.

A huge bonus is that the comics really know what they are doing. They know the concept so well that they are able to develop tactics and use their previous experiences to inform their play. They’ve also built such a strong rapport that their interactions begin to shed light on their relationships off stage, adding an interesting social element to the play.

With three games per show, the audience are able to really immerse themselves in this sinister fantasy world. The only problem is, an hour simply doesn’t feel like enough. Catch Werewolf at Underbelly, Bristo Square at 9.05pm throughout August.

Edinburgh Review: Alex Farrow – Philosophy A-Level

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© Johnny Yates

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Alex Farrow interweaves philosophical concepts and reasoning techniques into his material in such a way that makes philosophy accessible to his audience, rather than isolating those who don’t have a background in the subject. In doing this, Farrow shines a light on how philosophy exists in all aspects of our daily lives. For example, he shows how socratic reasoning has become a common method of communication by using it in recurring jokes through his set.

Farrow then goes onto recount his time spent as an A-Level philosophy teacher, and it is very interesting to be enlightened to the teacher’s perspective, rather than the student’s. The comic shows great sensitivity when discussing race and religion, and in doing so he is able to take the show to places where other comics might not dare. This is because he is regaling his own interactions with young people and coming at it from the objective of helping them think independently, rather than mocking them for what they believe to be true.

The stand-up is intersected with a few rather cheesy, but very well-received, trivia quizzes, a favourite being ‘Who said this? Kelly Clarkson or Nietzsche?’. In a similar vein are the song puns he sprinkles throughout the hour, particularly referencing Kelis’ Milkshake. A little out-dated, perhaps, but they lighten the quite heavily message-orientated show.

Overall, Alex Farrow successfully argues the case for the importance of philosophy in our education system, and he does so in a smart, yet empathetic way. Catch the show at Laughing Horse @ Cabaret Voltaire at 12.15pm throughout August.

Edinburgh Review: Tony Law – Identifies

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© Storm Davison

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‘Tony Law Identifies what?’ I hear you ask. Well, according to Law, his show’s namesake could be referring to absolutely anything. Just pick something from the hour of madness; anything.

You can really notice a difference in Law’s onstage persona compared to previous years. From the top, he gives off the same frenetic energy that fans know and love. But Law’s own self-discipline and the structure of the material in general feels far more controlled now. This newfound stability doesn’t take anything away from the comedy itself, however, with Tony covering a characteristically broad array of topics, including time travel, performing for the Russian aristocracy with a violent chimp, and the new addition to his family: a rabbit named Woodstock.

And despite what he tells us, Law can do observational comedy, even if the things he observes are not entirely based in reality. He also utilises his aptitude for accents, dipping in and out of various dialects with such fluidity that we barely notice the transition until it’s already happened.

While last year’s show, A Lost Show, explored Law’s relationship with alcohol and the changes he’s discovered since quitting drinking, Tony’s road to sobriety doesn’t get much of a mention in this latest hour. In fact, Identifies feels as though Law has moved beyond this, and in doing so he invites his audience to really get to know other parts of him.

Perhaps it’s unsurprising, then, that it’s the material about his home life that is most pleasing, as audiences rarely get this glimpse into the everyday Tony, who is a husband, father and pet owner. The way his eyes light up when he talks about his beloved German Shepherd, Wolfy, could stir even the coldest of hearts.

Identifies is a highly energised hour of whimsical observation from a true absurdist comedy powerhouse. Catch the show at Monkey Barrel 3 at 12.15pm throughout August.

Edinburgh Review: Adam Hess – My Grandad Has a Fringe

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© Matt Crockett

Adam Hess sprints around the stage with boundless energy. His observations are creative. It feels as though he is generating these ideas out of nowhere, with random ideas popping into his head, and somehow forming them into inventive, hilarious short-form jokes.

My Grandad Has a Fringe is a show that follows in a similar fashion to Hess’ previous shows, with the comic speaking of his family’s weird quirks (his audience are left wondering where he gets it from), as well as uncomfortable social situations his own awkwardness and anxieties have got him into. Topics covered are wide-ranging, from his mother’s knitting obsession to Hess’ own habit of enthusiastically waving at people he has met while waiting outside toilet cubicles.

Hess’ bright-eyed, genuine childlike glee personifies the homely feel of the entire show. It feels like going round to your friend’s house to play when you were little, Adam of course being the needy, attention-grabbing high-maintenance child (but this is somehow why we like him).

It’s refreshing to see a show that doesn’t drone on about one’s own privilege or the current socio-political climate. Hess presents an hour of true, hectic escapism.

Review: Angela Barnes, Rose-Tinted

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© Matt Crockett

Angela Barnes is becoming a bigger comedy name with each passing month. She is a regular on television panel shows such as Mock the Week and has also appeared on 8 out of 10 Cats and Live at the Apollo. She is currently touring the UK with her latest stand-up show, Rose-Tinted, supported by Phil Jerrod.

Barnes is a powerful speaker. Her ideas are projected forward with strength and her delivery is relaxed. Within seconds her audience feels assured that they are in safe hands for the next hour, and they are.

Rose-Tinted is a show concerned with trying to find positives in a world that seems rather dismal and often quite terrifying. Barnes confesses that she is no ray of sunshine, generally speaking, but it is only natural to assume that most of us aren’t. Angela’s mission, however, is to find the silver linings in the day to day dreariness of UK living. She reflects on the political landscape, along with the #MeToo movement and the state of the NHS, but this is no depressing, political rally because the main focus is Angela’s own personal experiences throughout her teenage, and more recent, years.

In fact, Barnes’ show is remarkably up-lifting. This is largely down to the predominant focus being on day-to-day silver linings, from Barnes’ happy relationship to her recently completing the Couch to 5K. Effortlessly amiable, Angela has her audience rooting for her. This likability comes from her directness and the fact she never feels the need to pander to her audience. As a comic this shows a great amount of creative confidence. Not only this, but her down-to-earth demeanour means that we, perhaps predominantly her female audience, begin to see a part of Angela in ourselves.

Barnes is very open about her faults and is clearly incredibly self-aware, recognising that change needs to come from inside of us and work its way out into the world we live in. The contrast of personal anecdotes and political comment gives the show a freshness, although there is certainly more room for the comic to delve deeper into her own personal narrative, when the time comes.

Rose-Tinted is an honest, uplifting recognition of the important role we each play in our own happiness, regardless of what is going on in the world around us. It’s fast-paced, honest and packed with solid jokes; a highly enjoyable piece of comedy.

GET YOUR TICKETS FOR ANGELA BARNES: ‘ROSE-TINTED’ HERE

Review: Jon Ronson, Tales From the Last Days of August and The Butterfly Effect

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On his latest UK tour, writer and journalist Jon Ronson presents stories from his recent podcasting projects: The Butterfly Effect (2017) and The Last Days of August (2019).

A self-effacing yet straight-talking Ronson introduces his audience to a man called Fabian Thylmman. Thylmman is the starting point of The Butterfly Effect, which explores the impact of one single monetising move on the entire porn industry and all its workers.

When Thylmman founded the company MindGeek, which owns the world’s biggest free porn sites including Youporn and Pornhub, the effect on the porn industry was rather catastrophic. Those making and performing in porn films suddenly had their livelihoods taken away, as there was no longer a market for paid-for porn. The result, rather bizarrely, is the emergence of bespoke porn. Jon recounts tales of clients paying porn stars to cover themselves in condiments or even stamp on the client’s own stamp collection, with clips to accompany them that are unusual and amusing in equal measure.

Ronson’s more recent podcasting venture follows on from his exploration into the dark realities of the porn industry. He tells the story of porn star August Ames, who took her own life in December 2017. The show sees Jon attempt to investigate the factors that may have had an influence on August’s mental health, thus potentially being the cause of her death, including events that took place on porn sets, altercations on social media, and also the effect of certain, potentially negative, individuals in her life.

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Ronson’s ability to weave a story from a string of different events occurring at different times and in different places is uncanny. And he makes his stories personal too. Not only was he there asking the questions, probing uncertainties and challenging certain viewpoints (he provides audio clips of this), but he also interweaves his own personal experience into the narrative. Audiences learn how the experience was for him, along with his own hunches and worries, which takes this beyond classic investigative journalism and into the realms of memoir.

Not everything in life has concrete, determined answers. In fact, most things don’t. Sometimes we can never know what truly happened between certain individuals because first-person testimony is often unreliable or drenched in untruth. But Ronson’s skill for constructing a narrative, and building an argument whilst also considering other possibilities, makes us feel like we have a genuine, tangible connection to the story.

Jon Ronson has bravely entered a domain that most people don’t like to talk about, and this makes for a truly unpredictable and at times astonishing storytelling experience.

TICKETS ARE STILL AVAILABLE FOR JON RONSON’S TOUR HERE

Review: The Horne Section, That’s How I Like My Tour

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The Horne Section begin their show in the most unpredictable of ways, beginning with a faux sound check, where drummer Ben Reynolds is called to check the sound levels of the bass drum. Booming around the room is the mischievous voice of frontman Alex Horne, and his audience soon learns that this is no ordinary sound check. This serves as a very efficient way of introducing his extensive live band, consisting of Ben, Joe Auckland on the trumpet, Mark Brown on the saxophone, Will (or Willip) on bass and Ed Sheldrake on keyboards. Soon the band are joined by Alex as he’s carried onto the stage by four willing audience volunteers, and the madness begins.

Horne’s comic imagination fuels the folly. He dances around the stage with infectious childish glee and surprising energy, cheekily taunting and mocking his band members in order to get reactions out of them. The Horne Section provide a smorgasbord of jazz, puns and zumba. Seeing these sensible-looking, suited men doing such ridiculous things is hugely entertaining. The group are certainly not afraid of making fools of themselves. And they include their audience in a friendly, non-invasive way and this ensures a very comfortable feeling in the room.

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The greatest joy of musical comedy is when the two integral elements are genuinely equally matched. These musicians are hugely talented, harmonising with each other with ease, performing with unpredictability and versatility. The show runs smoothly, as it is by now a well-oiled machine, and this is what allows the spontaneous quips and exchanges to shine brighter. Although we trust the group to lead us through the show comfortably and enjoyably, the off-script interludes are joyous because they give the show an exhilarating uncertainty.

And the Horne Section are excellent at manipulating their audience’s expectations, whether that be Alex appearing from underneath a giant top hat, or trumpeter Joe morphing into Henry Hoover. This show is full of surprises, and the group slather on the layers of ridiculousness as though they are icing a cake. There is no time to rest during this noisy, vibrant comedy extravaganza, and that’s what makes it so thrilling.

TICKETS ARE STILL AVAILABLE FOR THE HORNE SECTION: ‘THAT’S HOW I LIKE MY TOUR’ HERE