Kevin James Doyle’s After Endgame is a humorous storytelling show, where he centers a personal anecdote from which all his tangents and chess lessons spring from (as well as some insight into statistics).
Kevin James Doyle: After Endgame
Alexandra Haddow: Third Party
It’s not 100% clear how or why Alexandra Haddow defines Third Party the way that she does, but the way that she does it is quite reductive to a point. This show covers two different parts of comedy - political and personal - where one topic is exponentially and noticeably better than the other.
Pierre Novellie: Must We?
In Pierre Novellie’s Must We? we are once more treated to an acerbic dissection of societal phenomena, which is then mixed in with the odd deprecating observation. Novellie has a way of raising flags about things in a way that makes us consider them from a new angle that means we will never look at that object or consider something the same way again.
Harry Stachini: Grenade
As far as comedy sets go, Harry Stachini’s new hour Grenade, will tick just about every box for a die-hard comedy fan; a central narrative with meticulously detailed segues that build up this world within the routine to the point where the laughter (and even occasional ‘oof’) becomes involuntary as we hang on to Stachini’s every word.
Bonnie and Clyde The Musical : Filmed Live
Not finished raising a little hell, Bonnie and Clyde is back once again with a live concert version filmed at the Royal Theatre Drury Lane in January 2022. Directed by Nick Winston with music by Frank Wildhorn, book by Ivan Menchell and lyrics by Don Black, this live concert version of Bonnie and Clyde is a simply brilliant example and celebration - not only of this musical and the genre - but for the accessibility and love for theater.
Steve Bugeja: Self Doubt (I Think)
Steve Bugeja’s Self Doubt (I Think) is a perfect piece of character comedy which uses an anecdotal structure to bookend a filling of observationist humor, creating multiple layers and sources of humor and general comedic possibility.
Epic: The Musical
Every so often a show comes along that changes the face of musical theater. Jorge Rivera-Herrans’ Epic is such a musical. There are so many praises to sing, and even though only Act 1 has been released, it’s abundantly clear that this musical is very special. Act 1 of Epic is absolutely perfect, and Rivera-Herrans has woven together a really compelling re-telling of this myth. There’s just something about these songs that triggers some kind of dopamine receptor or rush that makes them absolutely intoxicating to listen to.
Iain Stirling: Relevant
Iain Stirling’s Relevant laces its evocation of nostalgia with a kind of intense, good-natured self and general deprecation. Accidental nostalgia must come with the territory when you’re a beloved children’s tv show presenter, but with Stirling it’s different. It’s not nostalgic like watching Friends 30 years later, but more in line with watching a comedic talent that is still consistently and effortlessly funny no matter how much time has passed since you last saw him that brings a lot of joy.
Alexander Bennett: I Can’t Stand The Man, Myself
We'd expect Alexander Bennett’s I Can’t Stand The Man, Myself to be an extremely deprecatory set, like the title would suggest. In fact, it’s a very honest critique, not only about himself, but about wider issues that whittles down into an exploration about the complexity and nuance that accompanies life instead of the good vs bad polarity that permeates most narratives.
Liz Guterbock: Geriatric Millennial
Liz Guterbock's Geriatric Millennial uses the innocuous lens of the term to explore society's attitudes to women, in particular childlessness and ageing and intersperses these subjects with innocuous observations about the differences between British and American cultures.
Pepper & Salt 