Points of view: theatre, comedy and news
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.
Live performance is one of the best forms of escapism. This rule is perpetuated by Thor Stenhaug’s debut, One Night Stand Baby, an effortlessly funny and clever hour of the purest form of comedy. It’s just a very solid hour of good humour and exquisite comedic craftsmanship that should be on everyone’s list this Fringe.
I left Josie Long’s Now Is The Time Of Monsters shell-shocked and with the understanding that I have greatly underestimated just how stand-up can make me feel. It’s such a powerful hour full of off-beat, effortless and deeply funny comedy, that speaks to something bigger and leaves us with a tonne of questions to reflect on to the point where we feel everything that Long says in the depths of our souls.
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.
Whatever we may have been expecting from Glenn Moore’s new hour, Please Sir, Glenn I Have Some Moore, our expectations are far exceeded by what we bear witness to onstage. It’s certainly a frenetic and intense hour where Moore pushes what is possible from a comedy show to the extreme, to the point where it becomes everything that we may want from a comedy show.
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.
Pepper & Salt 