RAPPORT FRINGE ... MARGINAAL VERSLAG ... FRINGE BERICHT
Reviewing fringe theatre, film, art and performance in London and internationally credits
venues
|
awards
|
interviews
|
features
|
fashion
|
newsletter
|
recipes
|
news
|
gossip
|
home
|
about
|
dublin
|
edinburgh
|
links
|
contact
|
film
|
drinks Monday 3 November 08
Comedy-a-JoJo
Verdict: Top bill of scintillating comedy
London - Madame JoJos - 20 May 03
Madame JoJo's has a gloriously rococo interior. The eccentrically-shaped stage (a legacy from the club's transvestite parade days - and dancing pole) faces a deep pit holding the front part of the audience. There's a ground-floor balcony, with rouge walls, brass tables and electric candelabra, and a bar.
It's packed tonight. Towards the back, there's alternative cabaret provided by a couple of drunks discussing their interesting lives.
Hostess for tonight's the gorgeous Sue Cheroux (gloriously performed by Susan Earl) - tart with a heart (of gold) and 'a new frock costing £12.99'. 'What am I drinking?', she asks. 'It's only water', we're encouraged to reply. This is so jealous manager/boyfriend Mike backstage won't know she's on the bottle. 'Just shut up and sing' is the cleaner version of his advice, and sing she does - a definitive version of 'Wonderful Tonight' with Sue Cheroux's highly individual commentary.
Pete Gold 'used to have an origami shop, but it folded.' The gifted singer/writer/guitarist plays three of his witty pieces, including The Marijuana Song ('Everybody's smoking grass'), How To Write A Love Song, and the sensitive 'Fucking Dead People'. It's subtle, powerful (and very funny) writing, put across with Pete Gold's fine guitar style and delightful voice.
Tom Price describes himself as Welsh, public-school, and youthful looking. 'Kids think I'm 12', which has advantages: 'You don't have to wee accurately'. Not that life's easy: 'My getting-a-girlfriend angel's been put in a cupboard by my wanking angel'. It's fast, discursive humour, skilfully delivered.
Peter Buckley Hill is a shaggy-haired (and bearded) lad of '55 last month' with a frog. 'Kick the frog' shouts the audience, and he does. He's 'said farewell to my youth - even he wouldn't shag me', and acquired Tourette's and Alzheimer's 'What are those words beginning with F and C?'. PBH also sings and plays guitar - including the wry celebration of dumping girlfriend Lorraine: 'I can see clearly now Lorraine has gone'.
Oram and Meeten Tom Meeten comes on as a dancing Drug Addict (to Boris Gardiner's Elizabethan Reggae), using his tie to bring up a vein. Young Dad (Steve Oram)'s restores decorum by bringing on his baby, which the boys coo over in a very worrying way. There's a special guest - Bruce Willis (Steve Oram). It's not Bruce as we know him, stripped to the waist, scarf round his head, high-pitched voice. Bruce recalls Hollywood highs including 'The Face Flannel', his wife played by Jennifer Lopez, brother by Wesley Snipes, location - the coffee shop in Debenhams, Wolverhampton. There's an audio clip 'Hi, here's your face flannel - see you on Sunday, OK'. Tom Meeten's the breathless interviewer. Later they're 'A man, not a monkey' (Tom Meeten), and Beautiful Mary (Steve Oram), in memorable red dress.
Rob Deering descibes himself as 'Five foot ten-and-a-half, brown hair, blue eyes, and a big round head like a football'. Partly covering his face with a photo of the the Queen Mother, the likeness is uncanny. Rob plays the (very short) Drinking Song on guitar, and to shouted requests from the audience, almost all the James Bond themes with hilarious commentaries. Plus The Religion Song (also very short), and an unrepeatable impersonation of Strokes. Rob Deering has an affectionate appearance and charming stage manner, which contrasts excellently with his razor-sharp material.
Andy Zaltzman 'Hello London'. Andy Zaltzman (just don't say he looks like Art Garfunkel) strolls on in blue shirt and purple trousers. 'Fuck off, you're all cunts'. This, he explains, is a pre-emptive heckle, getting his word in first. Andy Zaltzman's superb, intellectual humour covers politics, and whatever comes into his mind. Tonight, it's Iraq, the Queen Mother, Tunbridge Wells, Cardinal Wolsey, Guantanamo Bay, Jesus's last words, the local fete (held outside the village pub 'The King and Fuhrer' - 'the village hedged its bets during the war), US military intentions, and a woman who interrupted her suicide bid to tell Andy Zaltzman 'You look like Art Garfunkel'. Just glorious.
Ray Peacock's on in braces, beige jacket, black trousers, and cloth cap - with cigarette. Not that he's a spoof northerner, he knows the territory. Ray Peacock ambles quietly into the minefield of political correctness, taking no prisoners. Jeremey Beadle's withered arm's up for grabs ('Let's have a big hand for Jeremy' he remembers from Cannon and Ball at the Grand Theatre, Blackpool); ugly ('there's a reason why that word exists') ex-wives; and fat people (Ray's comfortably sized) - 'Fat Club? Just stop eating.' We visit Leeds ('Take your camera, you'll see things in Leeds you'll never see again.') Easing out from behind the bluff northerner camouflage (I'm very badly informed'), Ray Peacock switches to deft political humour, focusing on Iraq, President Saddam and the weapons inspectors, President Bush's facial expression on hearing of the destruction of New York's World Trade Centre - and what bad news it was for comedians. Ray Peacock's amiable style conceals carefully crafted script-work. His set is full of adroit twists, surprises - and great comedy.
And that's it. Sue Cheroux wraps the show and the night's set for serious drinking and dancing to DJ Jim Morrison. It's an excellently balanced comedy bill, well-timed (no-one on too long), a personal triumph for programmer/producer Rohan Acharya and an inspired cast of performers.
Credits Jake Wiltshire, stage manager. Eric, door. John Charles, technical manager. Jim Morrison, decks. Rohan Acharya, programming and promotion. Company - Underhand (alpha order: Rohan Acharya, Matt Holt, Jim Morrison, Mike Smith).
END
John Park
reviewed Madame JoJos / Tuesday 20 May 03
Fringe Report (c) Fringe Report 2002-2008
