Gilded Balloon Patter House
There are some comedy duos and shows that just radiate humour and good-naturedness, overpowering any other emotion that we may be feeling at the moment to the point of entrapping us in their comedy. Lianna Holston and Michael McPheat are such a pair, whose energy and chemistry just project outwards and from the moment that Starter Pack begins we are in their thrall.
The show serves as an introduction to both Holston and McPheat, with the pair splitting the time in half, time which goes far too quickly. Holston and McPheat have such a great chemistry, bouncing off of each other styles to the point where they may as well be finishing each others’ sentences. They are such a great double act, particularly how their comedy styles and delivery contrast, to the point that in a way Holston and McPheat have ensured that there’s something for everyone regardless of comedy preferences. Both are great storytellers and we quickly fall into the rhythm of their material that mix personal anecdotes with observational humour. We laugh with their shenanigans as the pair quickly draw us to their side in order to point out the idiosyncrasies and everything in between, to the point where we’re not only swayed to their way of thinking and observations, but fully onboard with whatever wisdom they decide to impart.
From the very beginning, McPheat makes his presence felt. His comedy is mostly anecdote-based, painting almost horrifyingly detailed pictures that we can almost taste the mundanity, using the central throughline of going home for a baby shower to base his comedy and subsequent tangents. He luxuriates in the time spent building these intricate scenarios, punctuating them with his tone and off-hand comments to diffuse some of the laughter before moving on. Although McPheat dallies in observationist humour as a form of vignette, he always communicates them to us as if he’s sharing a secret rather than making a grim commentary. These moments are a nice, bright detail within his overarching narrative – that although disrupting his flow in a purposeful manner to show us that he is choosing to let us in on the secret – makes his show feel more personal as if he’s less distracted by a tangent and more communicating something on a need to know basis. At no point does it feel performative, we feel McPheat’s sincerity in everything that he says, and it only serves to make his jokes all the funnier. There’s a slight element of melodrama in McPheat’s set, but it only goes to amplify his larger-than-life stage presence and narration style. He’s incredibly upbeat and cheerful as a narrator, leaning into ridiculousness of a scenario and telling his stories in a way that promises mischief, as if formally offering us an invitation to laugh. The slight tongue-in-cheek edge to his narration on occasion gives him the bearing of an omnipotent narrator rendering judgement, that it truly is a privilege to be invited in to see him do so, and indeed it is.
”No sooner do we think we’ve stopped laughing, Holston and McPheat are there to prove us wrong”
In the same way that McPheat radiates positive and bright energy, Holston’s demeanour and style is the exact opposite, but such a contrasting compliment only boosts our ability to appreciate the show in front of us. Holston’s dead-pan narration is marked shift and gives an edge to her observations, not necessarily making them darker, but in a way where we’re forced to asked ‘where is the lie’ in what she says. What she says is funny because it’s accurate. Holston’s anecdotes and observations hit their marks directly, accounting for every word to the point where there is a slight sharpness to her comedy, which suits both her more restrained performance style. Her self—ascribed sub-headings to the sections of her set helps direct our attention, not necessarily telling us what to expect but to compartmentalise the different aspects of her comedic toolkit. Even when the topic is slightly light-hearted, Holston wields her comedy like a knife, it’s very quick and to the point, meaning that there isn’t anything arbitrary or extra to distract us from the jokes she is making, which shows a great command over every aspect of her set. She narrates these relatable occurrences with deep, noticeable sarcasm that mocks the subjects of her anecdotes that in turn makes us feel gleeful to be able to laugh with her in turn. Holston’s delivery is so straight-faced that even though we understand that she is joking, we almost laugh in spite of how serious she looks as she delivers her material. The punchlines are not obviously sign-posted – Holston uses tone more than anything as an indicator that they’re there – but mostly we laugh not because it’s obvious, but simply on its own merit of being funny. In an incredibly understated manner, Holston plays with the concepts of misogyny and stereotypes that would ring hollow in any other scenario, but instead turns them upside down into things that we can laugh at and highlighting certain absurdities as she does so. Holston showcases her improv skills during a small interlude where she shares her opinion on animals with suggestions provided by the audience, a demonstration of her quick-wittedness and ability to sharply veer into the realm of absurdity should the situation call for it.
Starter Pack is a really feel-good show and Holston and McPheat are a stellar, perfectly matched duo. In a the contrast of their styles, the double act compliment each other. No sooner do we think we’ve stopped laughing, Holston and McPheat are there to prove us wrong. This is such a warm and bubbly hour, and is highly recommended for everyone, but especially those in need of a pick me up.
By Katerina Partolina Schwartz
Photo Credit: Amy Heycock
Pepper & Salt 
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