It seems like everywhere you turn in Edinburgh you could find a sketch comedy duo trying to put their stamp on the form. Myles and Dan are no different – aside from the fact that it seems they’ve achieved it.
Having worked together for 10 years the chemistry and connection between the pair is undeniable. It fizzes from the stage and embraces the audience – helping them buy into the theme. Kind of what it says on the tin, the pair try to break a specific world record, 50 sketches in 50 minutes.
Both performers are without a doubt some of the best actors I’ve seen across the fringe. The believability and commitment is only enhanced by the speed at which they switch from high emotions and impressive characters.
The sketches themselves are smart, subversive, weird and wonderful – their style usually to present an ambiguous situation then deliver the title as a wonderful punchline. But my favourite had to be….amoeba!
Where the show stands out is the structure – every interaction is placed perfectly to build and create a narrative that by the ‘emotional’ part you’re fully invested. Halfway through when the energy starts to dip the pair deliver the perfect reboost with a ‘Improv’ Sketch – which left me weeping with laughter.
Having to contend with drunk know it alls and a quite impressive sound bleed they handle it all with grace and skill.
Did they do it?
Well you’ll just have to go see it now, won’t you?
Whip-smart and stylised sketch with huge potential
Television 1 is the brand new debut show for Joe Pearson & Rory Cargill, a character comedy sketch show which takes the audience through TV programming of the 20th Century.
Starting with a Alfreds Astonishing Adventures and taking us through to an embarrassing body sketch the pair hit on all the pop culture shows that made TV what it is.
The digital projects on this show are truly exemplary – the production value really setting a tone. From the Television 1 placeholders to the aged up Pots and Pans it really is impressive work. Annoyingly I think this does have the opposite effect to the desired ‘wowing’. The slick idents regularly overshadow some of the in person sketches – with lines being dropped, characters lacking clarity and articulation being problematic.
What should be said is both of the performers handled a show stop with immense calm, returning to a depleted audience after a break mid-show they jumped straight back in.
The beauty of the show is how accessible it is. Every age group will identify with one of the in jokes whether it be ‘Red Paul’ or the geordie duo. There are lots of laughs to be had and I’m sure a month into the run the duo will be on top of the running order and lines.
I have a feeling the climax of the show there were some technical issues with a few ‘oh no’ noises from the tech box but again this should be an easy fix.
Overall there’s a definitely watchability to the pair but feel it does belong on TV.
Television 1 runs at Assembly George Square Gardens August 3-13, 15-27 at 22:20.
A hilarious dining adventure and a nostalgic tribute to the legendary sitcom
Faulty Towers the Dining Experience offers an uproarious homage to the timeless 70s sitcom, Fawlty Towers, transforming a hotel restaurant into an immersive stage. Presented by Interactive Theatre International, this dinner-show delivers an unforgettable evening of laughter, driven by impeccable character portrayals, brilliant improvisation, and a wave of nostalgic hilarity that leaves guests thoroughly entertained.
Basil Fawlty, played with impressive precision, welcomes each dining group with his trademark neurotic charm, drawing you into the performance. As well as Basil, Sybil and Manuel served up the three-course meal, each committed to their role and capturing their iconic voices and mannerisms. Throughout the performance, some classic scenes from the sitcom were recreated; from the infamous pet rat escapade to the fire drill chaos, for example. The restaurant became the stage as the cast effortlessly weaved in improvised interactions with the audience, adapting to unpredictable moments and responding with witty banter, which kept everyone engaged.
However it was noticeable that the dining experience lacked some of the clever subtlety and witty dialogue which is such a big part of why the sitcom is so brilliant. But this is understandable as given the nature of an interactive dinner-show with limited time for comedic set-pieces, the humour will naturally lean more towards general slapstick. The space itself was large and due to the audience being spread out on round tables across the room, it meant the cast members had to perform loud, somewhat basic skits, in order to be heard and understood by everyone in the room. The hilarity was still maintained, but it would have been interesting to watch some of the more nuanced scenes that define the sitcom itself.
Another aspect that fell slightly short was the three-course meal served during the show. While it didn’t detract from the overall experience, it was slightly below average, and lacked the finesse that one might expect from a ‘dining experience’. However, the food is not the main reason why fans choose to see the show – its more about comedy and laughter, than food and service.
Overall, the show was a triumph, and delivers a night of great fun with engaging character portrayals and brilliant improvisation. The cast’s ability to involve audience members without crossing the line into uncomfortable territory was well done, making everyone feel part of the comedy. It was an inclusive and entertaining experience that left everyone with a smile on their faces.
A ridiculously bizarre, hilarious pun-packed journey and a unique theatre experience
Friday night at the cosy Camden’s Peoples Theatre was the perfect time and location for this absurd chip shop odyssey. The stage was an incredibly bare bar: a small white table with bell atop stage right; an even smaller white table stage left; and a large white freezer centre upstage.
Louis Turner and Madeline Hatt the writers and stars in this two-hander, begin as Chris and Chriss, twins who have spent almost a year in the freezer since the passing of their father. They force themselves to brave the outside world to find their father’s will and save the chip shop from the evil Fryers Union (the F.U.).
Hatt and Turner multi-role brilliantly throughout and each character we meet is more outrageous than the last. All are clearly defined with accents and props which are cleverly made from things you can find in any fish and chip shop. For instance, the scouse medium has the end of a mop for a wig and an empty jar of pickles for a mystic ball. The Friar from Fysh, another exaggerated caricature, has a purposefully ridiculous Scottish accent and orange cleaning cloths dangling down from his newspaper hat. Their prop and accent choices, alongside some incredibly expressive facial expressions, enabled Hatt and Turner to easily and entertainingly switch between roles.
The music within the show really served a purpose to the story and was a clear theatrical device. Turner and Hatt also displayed their musical talent playing multiple different instruments to a high level of skill throughout. On top of this, their singing was good and all in various accents for the different wacky characters they donned in this musical. The songs’ lyrics and entire script was written as a quite ludicrous children’s adventure but littered with witty puns and some inuendo. For instance, one of the main antagonists was called Charlie Bass or C. Bass (sea bass) and instead of C. Bass speaking, Turner would play a funky bass line. Almost every other line throughout the performance was a pun or quip and if you blinked you may have missed them. Some made me laugh, some made me groan, and some I didn’t even work out until half an hour later on the tube home. Either way, it was clear to me that it was a thoroughly thought through script.
There is engagement with the audience throughout this piece, so if you would rather be a spectator I would advise not sitting on the front row, as I did. Several others and I in the first row were asked about ourselves and jested with by various characters. The gentleman beside me was given a kazoo to attempt a musical solo and I was flirted with offered to purchase lingerie by Turner. This interaction with the audience didn’t feel too forced or unnecessary, quite contrary, it gave us opportunity to interact and relate to each of these outlandish characters and settle into the space. It also showcased how quick on their feet and adaptable Hatt and Turner are.
In certain moments it felt as if I wasn’t at the theatre but instead had opened a door into Noel Fielding’s mind. Although, this story was incredibly absurd, it would not be too far a stretch to say this is a scenario that a child may imagine when dealing with the loss of a parent. That perhaps in reality there was a struggle to find a will or paperwork to maintain family ownership of the fish and chip shop. However, this could be traumatic for a child, so this crazy adventure and freezer metaphor was a way for Chris and Chriss to cope.
The whole production from start to finish was zany, comical and entertaining. There were a couple of lighting and technical mishaps but if anything, this merely added to the charm of the show which at times thrived from a created chaos. Hatt and Turner are definitely not just two chips off the old block, they were fantastic in their various roles and exceptional musically. A real whirlwind of an evening and I would really recommend getting tickets to see this creative musical, it really is the ‘plaice’ to be!
Grubby Little Mitts directed by Jon Gracey running at Assembly is full of unexpected takes and weirdly wonderful quirks.
The duo sketch team is made up of Rosie Nicholls (News Review) and Sullivan Brown (No Rolls Barred) who have an immediate warm and likable energy. Introduced miming to a song the audience are clear of their role from the start, to laugh and enjoy.
During the intro song the stage is adorned with small props (which are utilised throughout) and a very versatile Chez Long. The props are simple and smartly incorporated, often used to promote the sense of a scene.
Over a whole range of sketches we see recognisable situations which include coffee shops, dates, retreats and relationships. All navigated and punctuated by a blast of music.
Rosie and Sullivan make the transitions between scene and character look effortless with a joyous energy throughout. Their connection and skill is obvious as they transition between each weird and wonderful idea.
Director Jon Gracey has pulled the best out of a creative duo which pushes their weird and creative sketches to a hilarious climax.
A definite easy watch and perfect for sketch lovers looking for a fix.
