Reviews

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: Kai Samra – Brothers (WIP)

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© Kai Samra

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This year, Kai Samra brings his work in progress show, Brothers, to The Mash House. Relatively new to the stand up circuit, this Brummie comedian appears remarkably comfortable in front of his audience. His delivery is calm and self-assured, but certainly not an act.

Samra talks about his family with no qualms about letting his listeners in, and this makes for a deeply personal hour of comedy. There are no sob stories here, just honest anecdotes and clever observations. He’s a very likeable performer and his relaxed and confident nature allows his audience to settle into the show effortlessly.

Brothers is a show about family, along with all its frustrations and affections. And Samra makes 45 minutes feel like ten. The laughs come easily and frequently, making it starkly clear that this comic could warm up even the coldest of audiences. It’s not hard to imagine this comic cracking into the mainstream some time soon.

This show is not a skeleton of a piece, and neither is it an amalgamation of too many half-formed ideas. This show already feels polished. So, when Kai Samra returns to Edinburgh next August, prepare for a fantastic, brilliantly formed hour of proficient stand up.

Edinburgh Review: Abandoman (Rob Broderick) – Pirate Radio

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© Rob Broderick

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Irish improv hip hop artist Rob Broderick returns to Edinburgh with his solo show, Pirate Radio. Unlike previous Abandoman shows, Pirate Radio is a big-scale production. He’s ditched the powerpoint and electric keyboard for strobe lighting and ground-shuddering bass.

Rather than lots of small instances of audience participation (note Abandoman’s previous set-piece, ‘What’s In Your Pocket?’ where audience members hold up the most obscure item on their possession and Broderick improvises a rap about it), volunteer participants in this new show are a far bigger part of the proceedings. If you have something funny or strange to offer up, prepare to have a musical piece devised entirely in your honour.

Single audience members are brought up to stand in front of a packed Udderbelly, and yet there is never any hint of anxiety. Rob puts his participants at ease by spelling out what he requires of them and never failing to make it silly.

Being a much bigger, much more refined performance, it feels at times as though Abandoman has lost its personal touch. But where this show lacks in intimacy, Broderick makes up for in showmanship. From a heart-wrenching song about leaving a sleeping bag on a train, to a musical re-enactment of a childhood three-legged race, Broderick’s skill for snappy improvisation is as present as ever.

If you want your comedy upscaled, exciting and as loud as a music gig, Abandoman is no doubt the show for you.

Edinburgh Review: Simon Evans – Genius 2.0

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© Simon Evans

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Bringing a reworking of last year’s show Genius to this year’s Edinburgh Fringe, Simon Evans proclaims that he has no issue with ‘digging the same furrow’. Genius 2.0 asks what the future of our society is. Are we regressing in terms of intelligence and creativity?

This is a show of comparison through the ages, from drinking laws to the Guinness Book of World Records. It’s about how our lives have become more restricted as the years have passed. Though academic in his tone, this doesn’t feel like a lecture. Evans is surprisingly able to keep his large audience on the same page as him, despite his flowery language and analytic, black-and-white approach to assessing the problems he raises.

Evans’ point is glisteningly clear, but it’s hard to fully invest in the idea that our society is less intelligent (or less intelligence-orientated) than it was forty years ago. Yes, there is certainly more of a focus on mind-numbing reality television and a vacuous idea of what constitutes beauty (often consisting of botox injections and lip fillers), but aspects of our society are arguably thriving as strongly as ever, in areas including but not limited to science, philosophy and literature.

I’d feel a little uncomfortable, as a twenty-year-old university student, to be sat in this comic’s audience if I didn’t know he had teenage children himself. It is these anecdotes about his kids’ experiences, inspirations and education that allow us to ascertain that Evans isn’t simply having a go at the youth of today.

As the show goes on, Evans allows himself to exist at the same level as his audience, sharing his irksome experiences with ageing, from thinning hair to forgetfulness. But the set piece of the show is one that rings in the ear long after Evans has left the stage. The downfall of our society, as Evans see it, is the fact it is shrouded in apathy. Our country is lead by someone who studied at Oxford, yet graduated in a 2:2 in Geography. Someone who bends over backwards, surely almost to the point of snapping, at a slight gust of wind.

Simon Evans’ outlook on the state of society today is strangely motivating rather than depressing. The powers that be may be failing us, but we each have the opportunity to flourish however we want to, despite this unsettling prognosis.

Edinburgh Review: Paul Foot – Image Conscious

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© Paul Foot

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Paul Foot’s shows are always absurd, with only a vague grasp on reality. But this year there is something far more tangible about his material. Image Conscious has more popular culture references scattered throughout than previous years; has the world worn this comic down? This new turn for Foot is definitely a step in the direction of mainstream, but the reliability of it is somewhat refreshing.

The core of the show, a winding narrative about how to host a decent orgy, has Foot’s trademark madness written all over it. He layers details of setting, character and circumstance until he works himself up into a shouting frenzy. This is what Paul Foot’s fans come for.

These moments where Foot’s material flirts with reality are very satisfying. A particular stint about his hatred for Greg Wallace is particularly entertaining. We’re used to seeing Foot screaming at the top of his lungs about shire horses and fire engines, not BBC cookery shows. Foot is an expert at introducing various celebrities and celebrity has-beens into his ridiculous narratives, and this show is no disappointment. The things he has us imagining the likes of Clare Balding and Ronny O’Sullivan doing should not be repeated.

Leaving Paul Foot’s show feels like waking up from a dream; reality becomes a bit of a haze. At one point Foot had thrown pickled gherkins at the audience. Classic Paul Foot with an edgy twist, Image Conscious is unlike anything else you will see at the Fringe.

Edinburgh Review: Werewolf Live

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In Jon Gracey’s Werewolf, audience members are pitted against each other as they play the characters of werewolves and villagers. A fraction of the group of volunteers are given the role of werewolf, which means that they can choose one villager to be killed each night, under the cover of darkness (well, when we all have our eyes closed). The villagers must work out who the werewolves are and have them killed before it’s too late.

With only the werewolves being aware of who is innocent, this is a game of guesses and rash accusations. And watching people turn against their friends at the flick of a switch is always entertaining, especially when the reactions are spontaneous and unfiltered.

© Kate Rodden

Frontman Gracey is unsurprisingly the highlight of this show, and it’s a pity he doesn’t get more time to ad lib. He’s clearly comfortable on stage and his sarcastic comments and piss-taking is the glue that keeps the show from descending into chaos.

Werewolf is a an inventive concept. The rules are complicated enough, and the set up varied enough, so that the audience doesn’t get bored, and yet the game is sufficiently short to allow for three or so games during the show. A larger audience would undoubtedly make Werewolf more entertaining, as there could be an entirely new set of participants each round. This is why the comedian charity special on August 21st looks particularly promising.

Review: Stuart Goldsmith: Like I Mean It

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© Matt Crockett

Stuart Goldsmith has been touring his seventh stand up hour, Like I Mean It for nearly five months now. On one of the last stops of the tour he entertains a room of largely devoted Comedian’s Comedian fans (presumably) at Birmingham’s Glee Club.

Every year that Goldsmith comes to this venue, he bounds onto his stage appearing happier about his material and his place on the comedy circuit than the year before, which is only right as this latest show is one that is solid in its structure, subtle in its callbacks and upbeat in attitude.

This comedian is rather rare in that he holds a different relationship to his audience than most other stand ups, most likely as a direct result of his podcasting background, which has enabled him to share elements of his professional and personal life to listeners on a regular basis. The benefits of granting his audience this insight into his life are clear to see, because we audience members feel like we know him and wish to support him (this is embodied by the tentative lady on the third row who quietly reassures him ‘you’re awesome!’ during the first ten minutes).

Like I Mean It is all about the changes that come along with marriage and having children. Yes, it’s a common theme, but Stuart’s observations are original and maintain reliable laughs. Pair this with elements of the surreal (physically acting out the life and death of daisies picked for daisy chains, and the preparing of French frogs for edible consumption), and it is easy to see a clear knowledge of structural balance. And Goldsmith is so renowned for being nice that moments where the narrative takes a turn towards the macabre are quite delightful.

After a short interval, Goldsmith returns to workshop the skeleton of his new Edinburgh show, End Of, not that it feels much like a workshop at all because it seems he’s already got most of his ideas locked down. He tells us to lower our expectations but it’s clear that he’s confident in this new material, and enjoying performing it.

This show is about being tired and wishing for a break from the unrelenting ambition that drives many of us creatives round the bend. Stu asks himself ‘how much more effort can I give?’ and his pernickety exasperations are contagiously funny. At the moment, the hour is a collection of somewhat disjointed ideas, but that can only be expected as the final couple of months of previews enable him to lock the show’s narrative arc into place.

There are three stops left on Stu’s tour of Like I Mean It: the Soho Theatre, Tringe Festival, and Cardiff’s Chapter Arts Centre. After this he will be performing End Of at this year’s Edinburgh Festival.