In performing-arts circles, the expression ‘triple threat' is used to describe a performer who is equally talented at singing, acting, and dancing. With those words forming the title of a show, the company sets the bar high in the expectations of its audience; the show needs to be outstanding from every facet, or else needs to be skilfully and intentionally the opposite.

Triple Threat requires its audience to transcend theatrical boundaries, and become a 'live TV studio audience' of a fictional, East Anglian TV network. As such, the audience witnesses events both on- and off-air, during the making of a Pop Idol-style talent contest in search of the ultimate triple threat.

The various acts, beating it out to become the winner, should be dismally bad. Having been devised by the company, the show tries to give each performer an equal bite of the cherry. Most of the material gathers the kind of polite tittering often heard from comedy audiences when they’re a little nervous about what’s being presented. But it’s not until Susan Harrison appears (as Morwenna, the knife n’pint wielding modern poet) that the audience trusts that it’s in safe hands, and genuine laughter fills the space. Quality performances come also from Samuel Metcalf and Rebecca Shorrocks (as sibling dance-duo Ebb & Flo), whose comic-timing is faultless during their physical interpretation of Smooth Criminal. Their 'bad' dancing is reminiscent of Les Dawson’s approach to bad piano-playing; it’s actually a rather skilled performer who can make dancing or acting so delightfully and consistently awful.

But these comedy gems serve only to show up the weaker performances in the show. It is hard to see what purpose is served by the warm-up man - the character isn’t credible as a warm-up artist, not because he seems too old and stiff to be a comedian, but because his use of vulgar profanities smacks of the comedy-writer's get-out clause: 'if you can’t think of anything funny to say, just swear. The writers should either make him so bad at his job that the audience finds his plight amusing, or not use the character at all.

The most difficult jobs of the show belong to Colin Leggo and Rob Tofield. They neither look, sound nor act like live-TV presenters. But they’re not bad enough at their jobs to make it interesting. As a consequence, the pace whipped up by the stronger comedy turns deflates each time these 'presenters' intervene. On the contrary, Alison Thea-Skot (as Alex, the co-presenter) is every bit the feisty TV presenter, but, unfortunately, the writers have omitted to give her a storyline on which to hang her characterisation.

A mixture of screen footage and staged flash-backs help to inject some semblance of story into this talent-show parody. But that’s where the show’s biggest problem lies. A comedy-show audience can forgive a lack of drama if the gags are non-stop, knock-down funny. But if they’re not, an audience needs to care about the characters they’re seeing - else patience starts to fray. Unexplored plot-history (such as one character being another’s ex, or one character suing another) does not advance the drama. It’s only when we learn that Shakira (Eastenders actor wannabe, played by Susan Harrison) made racist remarks about a fellow (Polish) contestant, that the audience is thrown some drama to back-up the comedy.

With dramatic meat on the comedy bones, and a slimmed-down cast, this show could offer some serious competition to the comedy on offer this summer on the Edinburgh Fringe. But as it stands, it’s not nearly threatening enough.

Cast Credits: (alpha order): Mark Curl – Floor manager. Susan Harrison - Mowenna/Shakira/Jennie. Colin Leggo - as himself. Samuel Metcalf – Marcus/Ebb. Fraser Millward – Julian/Martin/Jez. Rebecca Shorrocks – Jackie/Flo/Sandra. Alison Thea-Skot – Tiff/Alex/Matilda. Rob Tofield – as himself.

Company Credits: Technical Manager – Jake Savage. Assistant Stage Manager - Danny Terry. Sound Production - Rob Tofield. Film Production - Mark Curl. Written, devised and produced by the company. Additional direction – Colin Leggo.

END

(c) Nigel Pilkington 2007

reviewed Tuesday 6 February 2007 / Pleasance, London

Fringe Report (c) Fringe Report 2002-2008