The Leaning Report

In the murky depths of Smirnoff Underbelly there are treasures to be found a plenty, for this is a venue where the latest and strangest comedy acts come out to feed off their audience’s hilarity. Charred and Dangerous are a triple act that reek with talent and ideas but the public’s noses have yet to smell their pungent odour, which has the potential to lift the trio into the upper echelons of stardom. As for their opening show, this reviewer had trouble deciding whether the performance deserved a damning label of one star or the exceptional honour of five – that is how much of a mystery these comedians are! However, Charred and Dangerous remains a comic treasure chest, which deserves to be hunted for and opened.

www.charredanddangerous.co.uk

Is the constant bombardment of depressing news making your head hurt? Then treat yourself to some panadol and an evening of song, dance and comedy sketches by four accomplished comic actors. Their satirical sniper rifles are cocked, loaded and aimed at current political and social topics, from the public enemies of Blair, Brown and Prescott to the defenceless targets of the blind and disabled. But do not let their apparent cruel and senseless comedy attacks put you off; for beneath the wickedly cheeky musical numbers and the fast-paced sketches is intelligent and insightful comedy writing. The satire is both cynical and brazen and occasionally you might feel bad from laughing so loudly, but don’t worry, that’s just your head starting to feel better again.

www.newsrevue.com

A comic concoction of mime-artistry, inventive story telling and rubber-faced acting is festooned upon an entertained audience, in this old-school haunted house adventure with 21st Century updates. Perki & Mann are a comedy duo that can make a tiny stage feel like an entire film-set, using a mixture of convincing corporal acting, effectual sound effects and an active imagination. The over-acting might be overly annoying for the more sophisticated viewer but its hard not to be charmed by these comical thespians, who know how to act out a story with originality and humour. By the end, the pair are soaked in sweat and deserve a standing ovation for successfully carrying out an enjoyable, light-hearted comedy that bulges at the seams with creative ideas.

A dedicated, highly strung housewife presents a culinary lesson in character creation and comic timing. With punch lines flawlessly delivered and cooking props handled with expert precision, this is a master class in monologue presentation. 'Hyacinth Bucket' leaps to mind, as this committed parent recalls droll tales from the dinner table to an audience happy to tuck in to whatever this whiz around the comedy kitchen can serve up next. The show is a brief affair but rife with comic titillation and all-round enjoyment. ‘Barbara’ is a classic character creation that could become one of the cult hits at this festival, but that requires you to pop the Sunday roast in the oven, stick it on low and dig in to this comedy appetiser.

In totally effortless fashion, Lizzie Roper acts out recordings of the general public’s sexual secrets with devastatingly funny results. Equipped with a wide range of convincing accents, this is unrelenting, versatile comedy, performed with expert timing and comic professionalism. Celebrities and fellow comedians alike are flocking to witness this rip-roaring insight into sexual reality. Some might inevitably blush throughout the show but they cannot deny the comic flawlessness of a comedienne who has her audience in the palm of her hand every time she steps on stage. This is definitely a comedy climax not to miss, so saunter over to the Gilded Balloon and join in this side-splitting orgy of fun and frolics.

Three masters of the spoken word are indulging audiences with poetry, music and scientific magic throughout this year’s fringe festival. Invisible Ink combine perfectly pronounced poem recitals, rhythmic pros and tales of dreams and nightmares, which not only pay tribute to the English language, but expertly demonstrate what can be done with it. This talented trio of literate artists deserve a larger venue to treat as many festivalgoers as possible to their fantastically detailed imagery. Some of the recitations contain the darkest of comedy, which may be too unnerving for some but the experience is an overall delight for anyone with a passion for literature and the spoken word.

Judging by this evening’s turnout, Jim Jefferies is almost guaranteed to sell-out every night of this fringe festival. This is definitely a lad night out, where boisterous men with beers in their hands go and watch an Australian with a beer in his hand, who has a slightly higher IQ and a guillotine-sharp wit. His constant use of expletives could be tiresome for a sober viewer but to a merry mob, the dirty words add to the Australian’s hilarity. The laughter-filled evening was unfortunately cut short by an unexpected fire alarm and Jefferies had to join the audience – who were still foaming at the mouth for more – and evacuate the Underbelly.

Never before has an audience been so motivated to inflict pain on their entertainers. Armed with rolled up socks and a thirst for comedic violence, the paying public are allowed to run riot throughout this comedy caper. The comical notion is certainly original but also rather dangerous, as the audience’s sadistic nature is let loose and everyone becomes decidedly trigger-happy. Without the socks, the show would still be delightfully funny, but the idea of cotton missiles are Easy Target’s secret weapon, which adds a new dimension to an already jaw-droppingly good comedy. Its hot work and by the end, you cannot separate the sweat from the tears of laughter. This should be a daily comedy diet for every festivalgoer.

What have I just witnessed? Was it a dream? Or was it the most surreal, outlandish ‘comedy’ I have ever sat through? For fifty trancelike minutes the audience is put on Vic McEwan’s back and flown through his misshapen, otherworldly mind, as he recalls trivial tales from his emergency 999 worker days. The words ‘bad’ or ‘dreadful’ do not spring to mind, just total and utter warped-mindedness that travels beyond rational thought and settles in another dimension, free from gravity, reason and the comedy rulebook. The gentle, atmospheric music is excellent, however, but, for all its qualities, this reviewer cannot award Police Emergency anything more than one star, for to do so would make me as insane as this very show.

This year, the Arches Theatre Company is treating festival goers to a Samuel Beckett double-bill, in celebration of the late writer’s 100th birthday. And what a treat it is. The first of these short plays (Rockaby) features a mysterious old lady seemingly being put into an addictive trance by an eerie and chilling poetic voice. In turn, the experience for the viewer is alarmingly hypnotic, with the dilapidated walls of the venue adding to the disturbing atmosphere. The second (Krapp's Last Tape) is just as compelling, as the engrossed audience watch a cantankerous old man slowly stomp around the stage eating bananas and listening to sound recordings. This is masterful theatre at its most raw and very best. Rest In Peace Mr. Beckett.

The Newcastle University Theatre Society (NUTS) has sent a production, which was voted ‘Best Show’ by its very own members, to this year’s festival. However, this particular performance was far from the thought-provoking comedy-drama it promised to be. With a fragile story and a weak script, the actors were left to make the best of a lacklustre production, which ended before it seemed to get going. As the narrative – about a teenager who witnesses the fatal consequences of failing to keep a promise – struggles to develop, the only convincing performance comes from Helena Zara, who plays the autistic older sister of the title character. Perhaps next year NUTS can serve up an out-of-the-blue cracker but, for now, its back to the drawing board.

Governor Schwarzenegger himself would be proud of this Californian-based University and its young acting talent. Tackling a challenging Eve Ensler script, set in a Bosnian refugee camp, is a task few would consider, never mind perform during the Edinburgh festival; but, armed with a dialect coach and a well organised production staff, Pepperdine University pull it off. One might wonder why such a tricky subject was chosen by the writer and cringe at the thought of Yanks putting on Bosnian accents, but the performances are strong, believable and deserve to be commended. Be sure to see this gem of a production before they say ‘hasta la vista’ to Edinburgh.