RAPPORT FRINGE ... MARGINAAL VERSLAG ... FRINGE BERICHT
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drinks Monday 4 August 08
Comedy-a-JoJo
Verdict: Stunning comedy run
London - Madame JoJos - 22 July 03
Rohan Acharya and Underhand deserve congratulations for the consistent excellence of this run of 5 well-structured, well-paced reasonably-priced comedy nights - combining first-class established acts with the fresh blood of well-chosen up-and-coming talent
Tonight's the last of the series. The venue's packed. Underhand start a new season after the Edinburgh Fringe, kicking off at Blackfriars Pavilion on 11 September. A new series of Comedy-a-JoJo starts shortly after. Rohan Acharya takes a break from working Edinburgh this year (the lad needs a holiday), but is doing a week's talent spotting there for Underhand's London autumn season.
Rob Deering MCs tonight. He describes himself as 'Five foot ten-and-a-half, brown hair, blue eyes, and a big round head like a football'. During the evening he reprises the delightful set he delivered at Comedy-a-JoJo 20 May 03, with plenty of new material.
(By the way - why do comedy audiences shout 'Yay'? It's got a quaint, sweet and dated sound, a bit like those photos of PM Blair wearing flared trousers in his college days. Altcom's left behind such a rigorous set of conventions for audiences, that it's become a tradition of its own. Maybe this is one of them. If anyone knows, please tell us - reviews@fringereport.com).
Robin Ince is a medium-sized man with dark hair, intellectual glasses, jeans and a brown open-necked shirt. He's just flown back from Sydney. His fast, extremely funny wit focuses tonight on jet-lag, what to say to street prostitutes, feng shui, and a book of reviews of porn videos (in which the C-word's replaced by 'nice ditch'). A remarkable talent, his material's tightly and subtly interlocked, though when delivered it all seems simple - and very funny.
Millie & Tillie. The stage's rear brothel-curtains sweep back to reveal a spectacular red and yellow art deco backdrop. Millie, with brunette hair, has a white t-shirt, fawn waistcoat and grey knee-length skirt. Tillie, blond-haired, wears a long-sleeve white shirt, brown trousers, and black waistcoat with gold-lamé trim. They're a couple of upper-class strait-laced ladies with solutions to Soho's problems.
Millie & Tillie are confused by the lap-dancing pole, and think they're in a fire station. They're helping us meet members of the opposite or same sex, and it's not long before Millie pulls up her skirt to show off quite a sexy pair of black pants, and does a frankly erotic dance. They sing and dance The Fashion Song (very funny). Their maiden-aunt appearance disintegrates in a lipstick-smearing passionate kiss. They finale with their glorious Death Song ('Death, takes your breath away'). It's skilled, delightful and original character comedy from two fine actors.
Matt Blaize comes on in jeans, black sweater with gold-buttoned epaulettes, and a gold necklace. He's tall, lean, handsome and toned. His act's subtle and constantly funny. His rapport with the audience is friendly and relaxed, giving him a lot of leeway. When he thinks he might lose them, he blinks his eyes like a wee lad and wins them back. Tonight Matt Blaize's material includes Tom Hanks, alcoholics, asylum seekers, the erosion of British culture by America ('trick or treat'), minorities in the army, US/UK relations post-Iraq, the drawbacks of the withdrawl method of contraception - and that's just the start. Matt Blaize delights. His humour's accessible and easy-going - and packs a hefty punch.
Shelagh Martin addresses iron-on tattoos (on the skin) and a host of topics in a string of short, funny, unrelated jokes. She's demure and pretty, with brown curly hair; stylish in fawn trousers and green strapless t-shirt. There are pollen-count problems in Shelagh Martin's world, van-driving ostriches, photographs of fresh fish, odd bus adverts, and love in Stoke Newington. She delivers her excellently-scripted material in a calm, reasonable and powerful voice - with an occasional catch in it to break the pace. Her act is subtle, very funny, original, and superbly written.
Jeremy Lion has seen better days, though life as a children's entertainer has been good to him. A drunk and incompetent ventriloquist, he's philosophical and realistic about his abilities. As he chats (with superb humour) with the audience, his dummy Swiss Goose slumps lifeless on his arm. It remains inert while Jeremy shows how to ventriloquise blowing and sculpting a child's balloon ('Looks like a John Thomas. I wouldn't give them that'). Jeremy Lion's superb peep (definitely for adults) into his work with children delights from beginning to end. It previews his forthcoming full show at Edinburgh 03.
Dylan. It may well be that village halls round the UK rock to the sound of laughter at stereotypes of London idiots, but there's nothing a London crowd likes more than a yokel to ridicule, especially with a West Country accent. At first, Dylan may appear such a man, bastard son of The Archers and Deliverance. He's a middle-aged man with a tall felt hat, donkey jacket, tiny white vest exposing a bare navel, dirty check trousers, showing bare ankles down to a pair of old shoes.
It's clear from the outset that Dylan's not as other men. His diction may be strong and clear, but his language is all his own. For a start - men are men, and women are otter-men. Women in the audience are identified as having the eyes of a cow; there are sparrow- and wren-women in his village. He wants to make friends - 'What's your name, hag?' He tells the troubled story of Rosie and The Crow. A skilled actor creates here a frightening character with unique material. Dylan's balanced dangerously on a fulcrum between comedy and threat. It's a compelling combination. Fabulous, feral freak - just don't offer to put him up for the night.
Danny Bhoy is good-looking, tall, slim, Scottish, with short, bouffant black hair. He has a relaxed and pleasant charm; tonight he's elegant in loose long-sleeved white shirt with a couple of embroidered pockets, brown trousers - and red shoes. He's playing the Edinburgh Fringe 03 next month (we reviewed Danny Bhoy at Edinburgh 02).
Danny Bhoy's easy discursive manner takes him into risqué areas made possible by his relaxed charm. Tonight it's the Son of God, crocodiles (he's also just back from Australia), and Puppetry of The Penis - in the first few seconds. It's very loose and funny in delivery, finishing with his experiences at a wine-tasting. Danny Bhoy's easy-going manner conceals and thrives on the formidable intellect and quality of his sharp, witty writing.
Peter Buckley Hill is a shaggy-haired (and bearded) lad of mature years with a frog. 'Kick the frog' shouts the audience, and he does. 'Grate tits' - he imitates a cheese grater near to them. 'Grate balls of fire' - yes, you can guess. He's 'said farewell to my youth - even he wouldn't shag me'. PBH also sings and plays guitar - including the subtle Birdsong, and 'My girl friend gave me a parcel' - A Toucan Of Your Esteem. Breathless and breathtaking.
Moustache Man & The Evil Hook. Moustache Man's an every-day super-hero, and not a very competent one, with a quiet accent. At first he's clean-shaven in jeans and white t-shirt, but as the song 'I'm Moustache Man' comes over the PA, he finds the glue to put it on. Evil Dr Hook's not too threatening either. Together they deliver a fabulous spoof of superheroes, two characters whose lives never rise above the prosaic creating an inner world of endearing and clever comedy.
Nina Conti We reviewed stand-up and ventriloquist Nina Conti's full show in May 03 at the Bloomsbury Theatre. Tonight her accomplice, naughty elderly Irish gentleman (think Dave Allen, but a bit older) Monk, is joined by upstart new dummy, Stuart. Far from being a rival, Monk takes to Stuart. In fact, he fucks him. They have, too, identical voices. Monk's smarting from the indignity of being left - by Nina Conti - to sleep facing her bed ('Pervert').
Her new boyfriend unsurprisingly has poor Monk dumped in the cupboard. 'Embarrassment', explains Nina Conti. 'Impotence', thinks Monk. Tonight Monk wants to be removed from Nina's hand. She's horrified (Monk: 'You don't like me naked'). Monk then makes the journey into her mind - his voice comes out of her mouth at full volume. Nina Conti's act includes remarkable ventriloquism; creation of an endearing and funny character, with whom she performs in double stand-up; and a subtle, even frightening, look at what a double-life ventriloquism can imply.
The JoJo Dancers. Charlotte Alberry's the choreographer and dancer with light hair and pink trousers. Elly O'Brien's the choreographer and dancer with darker hair and red trousers. Tonight they're in matching strapless tops. They start with mainly synchronised movement before moving on to individual, but related, performances: each and together graceful, elegant - and stunningly sexy.
In the first set they dance to Crouching Tiger, Mystique, drum and bass. In the second, it's MC Hammer's cheesy-to-some-but-stunning 80s hip-hop 'Can't Touch This'. DJ Jim Morrison plays 5 sets - start, 3 intervals, end - all impeccably, his talent at programming and selection perceptive of and inspirational to the audience's mood. His easy musical rapport with The JoJo Dancers makes for combined excellence in performance. Charlotte Alberry and Elly O'Brien deliver two sets that combine visual delight, excellence in contemporary dance, and serious raunch.
The night's programmer, Rohan Acharya, joins them on-stage for an amazing solo spot (choreographed by Charlotte Alberry and Elly O'Brien). There's no doubt the boy's got terpsichorean talent. But keep the day job, Ro, just in case Ballet Rambert says no.
Credits - Performers: (alpha order):
Danny Bhoy, Matt Blaize, Nina Conti, Rob Deering, Chris Tisdall (Dylan),
Peter Buckley Hill, Robin Ince, Charlotte Alberry (choreographer)
and Elly O'Brien (choreographer) - (The JoJo Dancers), Justin Edwards (Jeremy Lion),
Shelagh Martin, Jemma Freudenbergmorphet (Millie) & Josie Stuart (Tillie),
Jim Morrison (DJ), Patrick Monahan (Moustache Man) & Steve Williams (The Evil Hook) + brief appearance from Al Pitcher.
Credits - Company: Vague Stage Manager - Nic Watson.
Technical Manager - John Charles. 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 22 July 03
Fringe Report (c) Fringe Report 2002-2008
