Points of view: theatre, comedy and news
There is a slight element of risk to Ben Pope’s The Cut. If a comedian is talented enough and crafts a joke well, the risk of taking a big swing with a punchline or topic can pay off in a very major way. The Cut is an example of when the opposite happens.
Marjolein Robertson is a storyteller. Yes, a comedian and a fantastic one at that, but one who weaves intricate threads of comedy, folklore and story together into something far greater, for the stories she tells either about her own life or from folklore are no mere anecdotes. They speak to a deeper feeling of truth and heart that surpasses that term. And Robertson really illustrates her gift for story in Lein.
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.
Considering that Amelia Hamilton is the UK’s first rap comic, we expect a certain level of ingenuity as we step into the venue. Hamilton exceeds our expectations a hundredfold. With catchy beats, genuinely unexpected and agile lyrical deviations and turns, Hamilton’s Forget Me Not is an unforgettable comedy-rap remix of non-stop hits, both comedic and musical.
Burt Williamson’s new show, 104kg of Pure Banter, is in one word fine. Is it funny? Yes. Does it make us laugh? Yes. Is it particularly memorable or different? No. It’s a decent set, but it doesn’t quite spark anything in us or leave us feeling anything apart from the fact that it’s a nice show.
Improv is difficult and subjective, more so than other genre. A performer really has to be at the top of their game in order to be even just halfway decent at improv, because there’s no one tool that they can rely on to move a scene forward. The quality of, improv mostly swings between two extremes, poor and fantastic. Holy Shit Improv can be safely considered the latter.
Starting as an off-beat and innocent comedy show that could be mistaken for stand-up, Rhys Darby’s The Legend Returns quickly devolves into unmitigated and hilarious chaos, covering everything from the feud between Australia and New Zealand to the next Olympics and the dangers of AI.
It is that time of year again to contemplate life, liberty and the pursuit of happiness in John Tothill’s new hour, This Must Be Heaven to the point of academic dissection.
It’s the feelings of community, support and warmth - in addition to laughter - that are evoked over the course of this show that prove that Helen Bauer is a comedic machine. It is virtually impossible to have a bad time with her at the helm. Bless Her is an hour of transcendental comedy where Bauer both celebrates and critiques the idea of self love, using everything we know and love about her comedy whilst showcasing how she’s grown as a performer, comedian and writer.
For all intents and purposes, the morning is quite a jarring time for comedy. Alex Prescot’s Cosy may just be the exception that proves the rule, providing the blueprint for how stand-up can still be enjoyable before midday as long as it follows the same general rules of a children's show; light, wholesome and plenty of music.
Pepper & Salt 