Katherine Parkinson

The Kennedys

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An adaptation of her comedy memoir, The Tent, The Bucket and Me, Emma Kennedy’s latest project is a wonderfully vibrant revisit to a seemingly strange childhood. The Kennedys is a microcosm of 1970s Britain, packed full of cultural references that would no doubt delight anybody who was alive forty years ago, but alas I was not. Perhaps, then, it is the stereotypes that I can best associate with; the new-age lasagnas, the cheese and pineapple on cocktail sticks, the disco dancing, but this does not entail that The Kennedys as a piece comedy is lazy in its observations.

Kennedy’s ten-year-old self is reimagined in the form of young actress Lucy Hutchinson, who acts as a voice piece for the adults around her. Emma’s mother, Brenda (Katherine Parkinson) is a giddy, excitable lady with a likeable naivety and admirable ambition for the completion of relatively simple challenges that she often hopelessly fails at (such as booking of a driving test a few mere days in advance, despite never having learned to drive). She is an endless source of embarrassment for her daughter, as is Emma’s father, Tony (Dan Skinner), who so often succumbs to Brenda’s wild schemes, thus leading to some very tricky situations.

© BBC

© BBC

The Kennedys is one of those television sitcoms that has a recognisable face at every corner, overflowing with comedy talent which is enabled to shine through due to the fantastic script. Tim (Harry Peacock) and Jenny (Emma Pierson) live next door and the two couples naturally divide into two pairs of friends, the women and the men. The relatively young group on Jessop Square are incredibly hard-working and well-meaning people, making their quirky relationships a joy to watch, and the way in which they are written is honest and reflective; these characters and their relationships are certainly not tropes.

Visually, it has to be noted that The Kennedys is a very attractive production and the ‘1970s’ look has certainly been achieved, as well as additional humorous visuals being slotted in, such as David Palmer, another Jessop Square resident, being delegated to sitting on the poof at Brenda’s dinner party, meaning he sits at least a foot lower than all the other guests. These flourishes are what make it clear that this sitcom has been years in the making. The attitude behind every line and every scene is one of warmth, a fond memory of how things used to be, and this can be appreciated by anyone, regardless of age.

The Kennedys is silly and sharp-witted; the music is fantastic, the characters well-rounded and the entire production heart-warming, original and uplifting- surely a programme not to be missed.

CATCH SERIES ONE OF ‘THE KENNEDYS’ ON BBC IPLAYER

The British Comedy Awards 2014

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2014 has been a fantastic year for British Comedy, and The British Comedy Awards exists to showcase a large proportion of that to the public.

Last year’s post about the British Comedy Awards ceremony was largely negative, as a result of the production rather than the comedy being nominated and awarded. The show was aired live, which meant that mistakes could not be hidden and the timing issues were obvious, with some speeches having to be cut short which seemed outrageous. This year, however, the programme aired on Channel 4 on December 17th, rather than live, on December 16th, which meant the whole affair appeared far more professional and respectable, if a little fake, to the television audience.

It was a delight to see the wonderful Harry Enfield receive three awards (individually for Best TV Comedy Actor and teamed with Paul Whitehouse (Harry & Paul) for Best Sketch Show and Best Comedy Moment). Katherine Parkinson (The IT Crowd) also won Best TV Comedy Actress, which I think is incredibly well-deserved and so endearing to see how shocked she was to be recognised. Matt Berry was nominated for a whopping six awards, though he lost to Nick Helm for Best Comedy Breakthrough Artist, which is just as it should be seeing as Berry has been a television comic for over a decade. I’m a big fan of Berry’s Toast of London; it was great to see such a strange style of sitcom win an award for once.

The person I was most pleased to see win an award was certainly Aisling Bea, who won Best Female TV Comic. Seeing this absolute ray of sunshine crawl onto stage in her dress and heels and inadvertently turn herself into a “hospital DJ,” made me laugh so much and just proved that Aisling is a funny woman through and through. I am unbelievably pleased for her and can’t wait to see what this award does for her career in the coming year. Another beautiful moment was hearing an emotional speech from Brendan O’Carroll (Mrs Brown’s Boys), who was rightly awarded with the Writers’ Guild of Great Britain Award.

It’s easy to be cynical whilst watching such a grandiose display of wealth and status, and there were times throughout the production where I did feel like the spirit of British Comedy was being exploited, but, unlike Stewart Lee, I chose to ignore that this year. From the position of a viewer rather than a performer, I can see that The British Comedy Awards gives comics a platform to boost their careers or give them recognition for their lifetime achievements, and that can only be a good thing in my opinion, however unfair you believe the results to be. Out of the nominees for King or Queen of Comedy, however, Greg Davies will always win in the end.

I think my favourite part of the whole affair was hearing Tulisa say “I’m a big comedy fan.” Yes, that part made me laugh the most.

Top 5 Moments… The IT Crowd

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The IT Crowd ran between the years 2006 and 2010 for four series (with one special finale episode in September 2013). With it being such a well-known and loved British sitcom, jam-packed with such immense comedy talent, I thought it would be a nice idea to present to you my top five moments from all of the twenty five episodes.

5) A Suicide at Reynholm Industries (Series 2, Episode 2)

Denholm Reynholm, played by the infamous Chris Morris, was the original head of Reynholm industries until one fateful day during series two of the show. Everybody already knew that Denholm was prone to getting a bit hot under the collar, with frequent moody stares and bellowing fits, so we shouldn’t really have been too surprised to see his latest smart move. Upon being interrupted in a meeting to be told that the police want to look into some “financial irregularities” in the industry’s accounts, he promptly gets up and jumps out of the window, falling quickly to his death. The promptness and simplicity of this will always make this funny for me, and it was the perfect way for the talent that is Morris to leave the show (though it’s a shame he had to).

4) Roy and his Disabled Legs (Series 2, Episode 1)

During a work outing to the theatre with Moss, Jen and Jen’s new boyfriend, Roy and Moss encounter a dreaded toilet attendant so are forced to visit the disabled toilets instead. Roy quickly regrets this decision when he mistakingly pulls the emergency cord rather than the toilet chain and is bombarded with theatre staff thinking he is in a crisis. In typical IT Crowd style, of course Roy pretends he is disabled and has, in fact, had his wheelchair stolen. He informs the staff that he is disabled “in the legs” and the reason for this is “acid”, and of course, that makes perfect sense to them and they try to help him in every way they can…

3) That’s Right, We’re Looking at You (Series 3, Episode 6)

Roy is sent to do something that a man from IT is very rarely sent to do: go and fix something IT-related. While he is there, he notices a framed picture on a girl’s desk. The picture shows a young man looking “absolutely mental” in Roy’s opinion. This is because the man is boss-eyed. In a rapid string of strange events, Roy ends up directing a “geek” calendar in order to raise money for the charity and he rakes in all of his nerd friends in to help.

2) Goth 2 Boss (Series 4, Episode 6)

When Douglas Reynholm’s wife, Victoria, returns and demands a divorce, with significant monetary payouts, he realises that he is going to need a lawyer. And who better to represent Douglas than IT Relationship Manager, Jen? (She knows about relationships, right?). So Jen is stuck trying to form some kind of defence for Douglas and is rapidly running out of ideas; that is until Richmond, renowned socially-rejected goth at Reynholm Industries, steps up with his fantastic “Goth 2 Boss” related reason for why Victoria is a fraud. Unfortunately, and typically, Richmond turns out to be mistaken but we still get remarkable insight into his new business venture.

1) She’s Dead! (Series 1, Episode 5)

When Moss is left to tell a little white lie to Jen’s new boyfriend, Bill Crouse (Adam Buxton), regarding why Jen wasn’t at the office at that present time, he accidentally blurts out that she has, in fact, died. As the lies spiral out of control, Bill continues to see Jen walking around the building (because, believe it or not, she isn’t actually dead). The circumstances are painfully poised to convince the poor man that he is being haunted by the ghost of his past lover, and he becomes increasingly terrified throughout the episode:

What is your favourite IT Crowd moment of all time? Let me know in the comments, or by tweeting me at @moodycomedy.

Inside No. 9

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I had the whole series of Reece Shearsmith and Steve Pemberton’s Inside No. 9 recorded to watch when my exams were out of the way and with three exams left and half a day at home I managed to watch all six episodes in the space of a few hours.

Inside No. 9 is my favourite kind of comedy: dark, twisted and thought-provoking. Each episode is an entirely different storyline with new characters and setting yet they are all set at ‘Number 9’, be that a house or a dressing room in one case. With this vague link connecting the stories, it enabled Shearsmith and Pemberton to explore many entirely different groups of people, which I found fascinating. Each episode is given half an hour so the situation always gets worse and worse until the end and they just cut off. Resolutions aren’t really important for Shearsmith and Pemberton which I think is very brave and very unnerving.

Two episodes stood out for me as the cleverest and creepiest (what’s not to love?) and these were episode one: Sardines and episode three: Tom and Gerri. I’m going to give a brief overview of these as my heart is fully invested in them.

EPISODE 1, SARDINES

This episode featured the beauty that is Katherine Parkinson and generally had a very quaint, slightly ‘off’ feel. That is something I think Shearsmith and Pemberton are very skilled at: creating an atmosphere and evoking a reaction without necessarily relying on laughs to do so. The story follows a well-to-do family who are playing their traditional party game: Sardines, which is like hide-and-seek except once you find the person, you must join them in their hiding place until everyone is there. A magnifying glass is held up to the group dynamics and many dark secrets are hinted at and eventually revealed at the very end. The plot of this episode is incredibly clever and a wonderful start to the series.

EPISODE 3, TOM AND GERRI

This episode freaked me out because it’s all about the stability of the human mind, which I personally find terrifying and I’m guessing the writers must do as well. The basis of the story is that Tom is a primary school teacher living in a comfy apartment with his wife, Gerri, and one day he lets a ‘tramp’ come into his home for a few hours in return for him bringing him his wallet that he somehow, conveniently, lost. This is the beginning of a drastic downward spiral for the stranger rapidly begins to take over his life and, in turn, Tom’s health and motivation for life decreases. It is a tragic tale and I’m still a little confused by it in all honesty as the audience are left questioning which parts are real and which are fabrications from Tom’s distressed mind, but that doesn’t detract from my emotional connection to it. I also like the way the names Tom and Gerri may have been a hint at the idea of a cat and mouse chase, like the cartoon, which made it particularly poignant.

The other episodes were all brilliant with many laughs, but also many shivers of absolute disgust. Many talented actors popped up throughout such as Tamsin Greig in episode four: The Last Gasp and Julia Davies in episode five: The Understudy. I think it’s hilarious that Julia always gets given the role of ‘the bitch’ (think, Dawn from Gavin and Stacey or Jill from Nighty Night). Of course I’m not suggesting that’s anything to do with her own personality, just that she is stupidly good at playing it!  One fabulous moment was in episode six: The Harrowing where Katie is asking about Tabitha’s disabled brother: “That’s Andras, milk and rusks, that’s all he can have.” “…the disability?” “That and the fact he doesn’t have a mouth.”

This series has been punchy, eery and absolutely fantastic and I am genuinely so excited for some more from Shearsmith and Pemberton (and am so annoyed that I can’t find anywhere to watch Psychoville online!).