Hitler Moustache sees comedian Richard Herring present a ferociously intelligent and hilarious diatribe against facism, racism and political apathy.

The starting point for this constantly-surprising piece of boundary-pushing comedy is the performer’s wish to ‘reclaim’ Hitler’s famous piece of facial topiary from the infamous dictator. Is the moustache, he wonders, which was sported by both Hitler and Charlie Chaplin, the place where good and evil meet? To investigate this further he grows his own toothbrush moustache to see how this will be taken by members of the public he meets in his day-to-day life. Will it turn him evil? Anecdotes about his experiences with the moustache, from being the victim of a theft or going to an audition, to simply visiting his local newsagent or walking down the street, pepper the set providing a satisfying framework for proceedings.

This, however, is merely a launching pad for a breathtaking riff on racism, starting with the intentionally inflammatory thought that ‘maybe racists have a point’. Many racists, he contends, see everybody on earth as being either black or white, making them perversely close to seeing everybody as the same. With his tongue firmly in his cheek, he posits how this view of the world could negate the animosity between the countries of Pakistan and India. ‘If only they could see themselves as the racists see them’, he archly jests. Taking the argument to a seemingly-logical conclusion, the avowed ‘wooly liberal’ jokes that racists are just one step away from seeing the people of the world as they are – every last one decended from around 100 people who left Africa, the cradle of mankind, just 70,000 years ago.

This theme of taking an unspeakable viewpoint then using faulty logic to justify it, thereby mocking it, is one used regularly in the show. Eschewing obvious jokes about Michael Jackson, the comedian takes comments heard on the news as the focus for his ire, finding time for a number of well-aimed pot-shots at the media saturation surrounding the death of the self-proclaimed King of Pop.

The BNP are next up to feel the heat of Richard Herring’s caustic wit, with particular emphasis on their success in the European Elections. Comedy is put to one side, however, for an impassioned rant about the importance of voting. Denouncing those who didn’t bother to vote as ‘fucking idiots’ the performer laments that this has allowed racists to get into power by they back door, recalling Edmund Burke’s contention that ‘the only thing necessary for the triumph of evil is for good men to do nothing’. As if to prove his mettle he segues into a routine about how he took Carole Thatcher to task on live television for using racial epithets. Just as he seems in danger of becoming somewhat sanctimonious, however, he spins the spotlight back onto himself and his own ‘ironic’ use of such racial terms. Staging a complex call and response with his own internal monologue, he dazzlingly demonstrates that simply justifying something to yourself doesn’t neccesarily make it right.

A reading from the Charlie Chaplin film ‘The Great Dictator’, where the legendary star of the silver screen himself poked fun at Hitler, brings the performace to a suitably dramatic and thoughtful climax.

Throughout the set Richard Herring wears his heart on his sleeve and is never afraid to use personal material to prove points or add colour. So much more than just a list of loosely-themed jokes, the show takes a fascinating look at a controversial subject without ever feeling opportunistic or contrived.

Cast Credits: (alpha order): Richard Herring

Company Credits: Writer – Richard Herring. Company – Avalon Promotions.

END

(c) David Hepburn 2009

reviewed Sunday 30 August 09 / Underbelly, Edinburgh, UK

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com