Category Archives: Comedy

Review of the Year 2024 – The Fourteenth Annual Chrisparkle Awards

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Greetings again, gentle reader, to the glamorous showbiz highlight of the year, the announcement of the annual Chrisparkle Awards for 2024. This year was a record-breaker for me in that I saw 254 productions throughout the year – three more than last year; and that’s an awful lot of shows! Eligibility for the awards means a) they were performed in the UK and b) I have to have seen the shows and reviewed them in the period 10th January 2024 to 4th January 2025. Are you all sitting comfortably? Then we’ll begin!

 

The first award is for Best Dance Production (Contemporary and Classical)

This includes dance seen at the Edinburgh Fringe, however none of the top three comes from that prestigious festival! These are the top three:

In 3rd place, the informal collection of dances by stars of the future in Birmingham Royal Ballet BRB2, Carlos Acosta’s Classical Selection, at the Royal and Derngate, Northampton, in May.

In 2nd place, the powerful Romeo and Juliet performed by Northern Ballet in association with the Royal Shakespeare Company, at the Royal Shakespeare Theatre, Stratford-upon-Avon, in September.

In 1st place, the irrepressible Matthew Bourne’s Swan Lake, performed by New Adventures at Sadlers Wells, London, in December.

 

Classical Music Concert of the Year.

We saw three classical concerts this year, all by the Royal Philharmonic Orchestra at the Royal and Derngate in Northampton. The award for the best goes to their Film Music Gala in November.

 

Best Entertainment Show of the Year.

This means anything that doesn’t fall into any other categories – for example pantos, circuses, revues and anything else hard to classify. Here are the top three:

In 3rd place, our local pantomime, Cinderella at the Royal and Derngate, Northampton, in December.

In 2nd place, the extraordinary spectacular extravaganza that is Robin Hood at the London Palladium in December.

In 1st place, the outstanding and uniquely successful Snow White at the Lyceum Theatre, Sheffield, in December.

 

Best Star Standup of the Year.

Last year this award was combined with the Comedy Crate/Screaming Blue Murder award, but this year the committee decided to return to its previous practice of splitting them in two. So here are the top five performances by Star Standups in 2024:

In 5th place, the effortlessly compelling humour of Sarah Keyworth in her My Eyes Are Up Here Tour, at the Royal and Derngate, Northampton, in September.

In 4th place, the daring and groundbreaking comedy of Omid Djalili as part of the Mixed Bill Megashow at the Royal and Derngate in April.

In 3rd place, the return of the OG PC comedian par excellence, Ben Elton in his Authentic Stupidity Tour at the Royal and Derngate in November.

In 2nd place, the utterly hysterical and always reliable Sarah Millican in her Late Bloomer Tour at the Royal and Derngate in January.

In 1st place, a comedian with a unique place in the nation’s heart, Guz Khan in his Live Tour at the Milton Keynes Theatre in January.

 

Best Comedy Crate/Screaming Blue Murder Standup of the Year

In 5th place, the experienced and consummate comedian Richard Morton (Screaming Blue Murder – March)

In 4th place, the fabulous Maisie Adam (Comedy Crate Edinburgh Preview Weekender – July)

In 3rd place, the total superstar that is Jen Brister (Comedy Crate – March)

In 2nd place, the evergreen and always deeply creative, Paul Sinha (Comedy Crate – September)

In 1st place, for the second year running, the comedy powerhouse that is Tom Stade (Comedy Crate Edinburgh Preview – July)

 

Best Musical.

I saw fourteen musicals this year, by far the majority were revivals, which just goes to show how difficult it can be to find a new musical! Seven made the shortlist and here’s the top five:

In 5th place, a show that’s just going to grow and grow over the years, Titanique at the Criterion Theatre, London, in December.

In 4th place, a superbly enjoyable production of a favourite show, Hello Dolly at the London Palladium, in July.

In 3rd place, a show that has become synonymous with the kindness of the human spirit, the touring production of Come From Away at the Curve Theatre, Leicester, in March.

In 2nd place, the amazingly successfully revitalised Oliver! at the Festival Theatre, Chichester, in September.

In 1st place, despite a couple of criticisms of its updating, there is no finer musical than A Chorus Line, at the Curve Theatre, Leicester, in July.

I must make an honourable mention of the wonderful Our Little Hour that ran for three nights at the Royal and Derngate, Northampton, in October. It’s impossible to compare it with the other huge productions here, but it fully deserved its five stars from me!

 

Best New Play.

Just to clarify, this is my definition of a new play, which is something that’s new to me and to most of its audience – so it might have been around before but on its first UK tour, or a new adaptation of a work originally in another format. Just like last year, we saw eighteen new plays this year, but I only awarded five stars to two of them; I’m definitely getting stricter in my old age!

In 5th place, Apphia Campbell’s incredible one woman play inspired by the life of Nina Simone, Black is the Color of my Voice at the Minerva Theatre, Chichester, in February.

In 4th place, Mike Poulton’s riveting adaptation of Philippa Gregory’s novel about Mary Boleyn, The Other Boleyn Girl, at the Festival Theatre, Chichester, in May.

In 3rd place, the thrillingly unusual and highly entertaining account of the Rolling Stones, Marianne Faithfull and the young Nigel Havers, Charlotte Jones’ Redlands, at the Festival Theatre, Chichester, in October.

In 2nd place, a terrifying look at modern day democracy, David Edgar’s The New Real for the Royal Shakespeare Company at the Other Place, Stratford-upon-Avon, in October.

In 1st place, Emma Rice’s stunning, heartwarming and endlessly fascinating adaptation of Hanif Kureishi’s The Buddha of Suburbia for the Royal Shakespeare Company at the Swan Theatre, Stratford-upon-Avon, in April.

 

Best Revival of a Play.

I saw twenty-two revivals, leading to a shortlist of eight, and here’s the very closely fought top five:

In 5th place, the RSC’s laugh-a-second production of Shakespeare’s Merry Wives of Windsor at the Royal Shakespeare Theatre, Stratford-upon-Avon, in June.

In 4th place, the immaculate acting and characterisations in Pinter’s still immensely powerful The Caretaker, at the Minerva Theatre, Chichester, in June.

In 3rd place, the joyful inventiveness of the RSC’s sensational Twelfth Night, at the Royal Shakespeare Theatre, Stratford-upon-Avon, in December.

In 2nd place, the RSC’s literally magical production of Shakespeare’s Midsummer Night’s Dream, at the Royal Shakespeare Theatre, Stratford-upon-Avon, in February.

In 1st place, the captivatingly hilarious and outrageous production of Oscar Wilde’s The Importance of Being Earnest, for the National Theatre at the Lyttelton Theatre, London, in December.

As always, in the post-Christmas season, it’s time to consider the turkey of the year – and whilst it very nearly went to the ambitious but falling-short-of-the-mark Spymonkey’s The Frogs at the Royal and Derngate, Northampton, the most disappointing production I saw all year was the RSC’s Othello at Stratford’s Royal Shakespeare Theatre.

Now we come on to our four categories specifically for the Edinburgh Fringe. The first is:

 

Best play or musical – Edinburgh

I would normally have included musicals in with the “Best of the Rest” category, but I feel it is more appropriate to include them in the “Best Play” category. We saw 90 productions of plays and musicals in Edinburgh this year, 13 of them got 5* from me, and here are the top 5:

In 5th place, Sarah Cameron-West’s self-performed hilarious and memorable journey through heartbreak and beyond, KAREN (Underbelly Cowgate)

In 4th place, another extraordinary one-woman play, about how a celebrant can become triggered by their work, Catafalque, written by Amy Conway and produced by Scissor Kick (Summerhall)

In 3rd place, a hilarious play that made you look at a familiar story from a completely different direction, Galahad Takes a Bath, written by Jojo Jones and produced by Juggler’s Mistake (Zoo Southside)

In 2nd place, a moving and superbly structured musical based on a true story, Our Little Secret: The 23andMe Musical, written by Noam Tomaschoff and Ryan Peters and produced by Russell Citron (Gilded Balloon Patter House)

In 1st place, the brilliantly created, extremely funny and superbly performed look at living with Climate Change, Weather Girl, written by Brian Watkins (Summerhall)

 

Best Individual Performance in a Play or Musical – Edinburgh

As always, an impossible choice, and it’s as close as close can be. Nevertheless, here are the top five:

In 5th place, Lucas English for The Shadow Boxer (TheSpace @ Niddry Street)

In 4th place, Forest Malley for Galahad Takes a Bath (Zoo Southside)

In 3rd place, Jennifer Vuletic for MILF and the Mistress (TheSpace @ Niddry Street)

In 2nd place, Julia McDermott for Weather Girl (Summerhall)

In 1st place, Noam Tomaschoff for Our Little Secret: The 23andMe Musical (Gilded Balloon Patter House)

 

Best Comedy Performance – Edinburgh

A change from previous years, where this category was entitled Best Stand-up Comedy Show; this now includes sketch shows and otherwise undefinable comedy performances! We saw fifty-five comedy shows this year, but only six received 5* from me, and here are my top five:

In 5th place, boldly going where angels fear to tread, Garry Starr with his Classic Penguins show (Pleasance Courtyard)

In 4th place, the clever combination of brilliant comedy with a touch of sadness, Tom Greaves with his Fudgey show (Assembly Roxy)

In 3rd place, the irresistibly engaging Josh Jones with his Put a Sock in It show (Monkey Barrel at the Tron)

In 2nd place, the innately funny Robin Grainger with his beautifully structured Refurb show (The Stand Comedy Club 2)

In 1st place, the incredibly inventive and outrageously funny Emma Sidi with her Emma Sidi is Sue Gray show (Pleasance Courtyard)

 

Best of the rest – Edinburgh

From a shortlist of eight, here are my top five:

In 5th place, the amazing magic and entertainment of Pete Heat: Bogus (Pleasance Dome)

In 4th place, the terrific cabaret combination of Frances Ruffelle and Norman Bowman in The Scot and the Showgirl  (Pleasance Dome)

In 3rd place, a true tour de force by Sarah Louise Young in I Am Your Tribute (Voodoo Rooms)

In 2nd place, fantastic music delivered with a message for the world, Janie Dee’s Beautiful World Cabaret (Pleasance Dome)

In 1st place, and I still don’t know why she hasn’t been given her own chat show, the incredibly entertaining Mhairi Black: Politics isn’t For Me (Gilded Balloon at the Museum)

Unlike last year, I didn’t award any Edinburgh shows the dreaded One Star review. However, there are still several contenders for this year’s Edinburgh turkey, of which I feel I must draw to your attention two; FUFC (TheSpace on the Mile) had a powerful message about prostate cancer but was poorly written and acted, and almost the opposite, Nerine Skinner’s The Exorcism of Liz Truss (Just the Tonic at the Caves) boasts a brilliant impersonation of Liz Truss but dull material that goes nowhere.

 

Best Performance by an Actress in a Musical.

Time to get personal. Here’s the top five:

In 5th place, Jenna Russell as Irene in Hello Dolly at the London Palladium in July.

In 4th place, Georgina Onuorah as both Audrey in Little Shop of Horrors at the Crucible Theatre, Sheffield, in December, and as Lois in Kiss Me Kate at the Barbican Theatre, London, in July.

In 3rd place, Kat Ronney as Rose in Titanique at the Criterion Theatre, London, in December.

In 2nd place, Molly Lynch as Eliza Doolittle in My Fair Lady at the Curve Theatre, Leicester, in December.

In 1st place, Imelda Staunton as Dolly in Hello Dolly at the London Palladium in July.

 

Best Performance by an Actor in a Musical.

Here’s the top five:

In 5th place, David Seadon-Young as Henry Higgins in My Fair Lady at the Curve Theatre, Leicester, in December.

In 4th place, Marley Fenton as Danny in Grease at the Royal and Derngate, Northampton, in May.

In 3rd place, Jordan Luke Gage as Cal in Titanique at the Criterion Theatre, London, in December.

In 2nd place, Layton Williams as Seaman/Iceberg in Titanique at the Criterion Theatre, London, in December.

In 1st place, Simon Lipkin as Fagin in Oliver! at the Festival Theatre, Chichester, in September.

 

Best Performance by an Actress in a Play.

Seventeen in the longlist, and six in the shortlist, and here’s the top five:

In 5th place, Apphia Campbell as Nina Simone in Black is the Color of my Voice, Minerva Theatre, Chichester, in February.

In 4th place, Martina Laird as Rachel Moss in The New Real, The Other Place, Stratford-upon-Avon, in October.

In 3rd place, Freema Ageyman as Olivia in Twelfth Night, at the Royal Shakespeare Theatre, Stratford-upon-Avon, in December.

In 2nd place, Jodie Whittaker as The Duchess in The Duchess, at the Trafalgar Theatre, London,in November.

In 1st place, Sharon D Clarke as Lady Bracknell in The Importance of Being Earnest, at the National Theatre Lyttelton, in December.

 

Best Performance by an Actor in a Play.

Twenty-one in the longlist and ten in the shortlist, each of whom could easily deserve the award, However, here is the top five:

In 5th place, Luke Thompson as Berowne in Love’s Labour’s Lost, at the Royal Shakespeare Theatre, Stratford-upon-Avon in April.

In 4th place, Hugh Skinner as Jack in The Importance of Being Earnest, at the National Theatre Lyttelton, in December.

In 3rd place, Ncuti Gatwa as Algernon in The Importance of Being Earnest, at the National Theatre Lyttelton, in December.

In 2nd place, Ian McDiarmid as Davies in The Caretaker, at the Minerva Theatre, Chichester, in June.

In 1st place, Mathew Baynton as Bottom in A Midsummer Night’s Dream, at the Royal Shakespeare Theatre, Stratford-upon-Avon, in February.

 

Congratulations to the winners, commiserations to the losers and thanks for your company again throughout the year, gentle reader. Here’s to another year full of artistic excellence!

Review – Screaming Blue Murder, Lola’s Bar at the Royal and Derngate, Northampton, 17th November 2024

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The only constant is change, they say, and nowhere is that more obvious than in the various transformations our local treasure Screaming Blue Murder has undergone in the last few months. Now in the comfortable and atmospheric setting of Lola’s Bar, adjacent to the Royal and Derngate theatre, it’s an intimate location with top quality drinks (always helps) and a small stage area decked out like Beverley’s living room in Abigail’s Party.

However, one thing that is as constant as the northern star, and that’s the presence of Dan Evans as MC for the evening. Warmly welcoming and irrepressibly cheeky in equal measure, Dan wasted no time in digging deep into the lives and loves of John the psychotherapist from Brixworth and Dylan and Emma still in the first flushes of romance. Where would we be without him?

Our first act, and someone we always look forward to seeing, was Mary Bourke, one of the surest hands in comedy, with her blistering, sometimes dangerous, often withering delivery of her cracking observations. Hers is an act honed to perfection; what might seem to be a throwaway line is in fact an exquisitely crafted and carefully chosen selection of words designed to have the maximum impact. Among her finest material on Sunday were memories of a book festival with Liz Truss (ouch), dealing with incels and how a renowned American comic came to grief in Glasgow (it can happen). Always expect the unexpected with Mary Bourke; a terrific start to the show.

After the interval, Dan welcomed James Cook, whom we’ve seen just once before, down the end of a Zoom screen on those dark days of distanced comedy during Covid lockdown. An engaging, jolly personality, he delivers his material with warmth and confidence; and although many of his topics are perhaps rather familiar – such as being the parents of small children – his observations and fresh and original and makes you see those familiar things from a new perspective. I loved (and was indeed rather shocked) at his material about the seismic change that has affected the world of pass-the-parcel, and his home-made method of returning to the good old days of porn (that sounds iffier than it is, honest). He sets up an excellent rapport with the crowd and his set finished all too soon.

There’s one more Screaming Blue Murder this year – in December – which is currently scheduled to take place back in Screen 2 of the cinema, but hopefully the powers that be will see the wisdom of returning to Lola’s Bar for a genuine Northampton Fringe experience. And then – in 2025 – it’s back to the Royal and hopefully, the freshly reinvigorated (and hopefully now safe from RAAC) Underground space where SBM has always thrived. Can’t wait!

Review – Ben Elton, Authentic Stupidity Tour, Royal and Derngate, Northampton, 6th November 2024

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The day after the United States voted convicted felon Donald Trump back in for a second term of office, the inventor of political correctness, Ben Elton, brought his Authentic Stupidity show to the Royal and Derngate, Northampton. What a time to be alive! The whole premise of this new show is that, whilst we’re all concerned about the rise of Artificial Intelligence, the damages caused by Authentic Stupidity far outweigh a clever computer; and given recent events, it’s hard to argue against it.

The last time I saw Ben Elton he was hovering around the foyer of the Queen Elizabeth Hall in 1983 at a star-studded evening of music and comedy in aid of the El Salvador Solidarity Campaign. Ah, the happy days of political optimism – boy, we stuck it to the fascists that night. Decades later, the fight goes on, and Mr Elton is still full of fire and fury at the age of 65, although he’s moved on from Mrs Thatch (I think we all have) and has entered that period of bewilderment at the world, that we can all appreciate.

On stage for the best part of two and a half hours, his energy, sincerity and commitment to the show are palpable. He rips through his material at a cracking pace – so much so that occasionally you start to tune out because he just has so much to say. He doesn’t want to turn into a grumpy old man, but he is proof that, with the best will in the world, it’s impossible not to. What’s different about his material from other comics of a similar age, facing similar bewilderment at progress and, dare I say it, woke, is that despite his confusion, he accepts it, admires it, and wants to run with it; he just doesn’t know how.

When, for example, did a meal at a restaurant stop being about the food and service, and start being about vibe? And whilst he is of course happy for the ever-burgeoning letters tacked on to the rainbow acronym to keep increasing, he wonders if he could add BSC to the end of the list (you’ll have to see his show to discover what that stands for).

One of Ben Elton’s many comedic gifts is his ability to go on at length about very relatable subjects and explore their most ludicrous aspects. It’s true, for example, how proprietorial we become when we’ve put our refuse bins outside the night before collection, peering through the curtains to make sure no one’s nicked them, or – even worse – put extra rubbish in them. It’s also true that, when one’s wife wakes up in the night having heard a sound, it’s always the man that has to go and investigate.

He also has a considerably long sequence of material regarding assisted dying, with specific reference to Dame Esther Rantzen’s campaign; these are things you definitely start to think about when you reach your mid-60s. It’s a difficult subject to be funny about, but Mr E achieves it with consummate ease. And you’ll never guess who his favourite James Bond is!

Now he’s reached official retirement age, Ben Elton shows no signs of slowing down – he’s as fired up and as energetic as ever. To keep up that intensity of comic delivery for two and a half hours is a true test of stamina – he’ll need that for the rest of the tour, which continues until February. Highly recommended!

Review – Dom Joly, The Conspiracy Tour, Royal and Derngate, Northampton, 3rd November 2024

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Can you believe it’s 25 years since Trigger Happy TV – which made Dom Joly a household name – first started broadcasting, since when he’s had several TV shows, written many books, and done a couple of live tours. The Conspiracy Tour marks his return to the stage after many years absence and – as he admits himself – is basically a book tour, publicising his new opus The Conspiracy Tourist, where he meets conspiracy theorists around the world from the bizarre to the bonkers, and even the occasionally perfectly sane.

He cuts a commanding figure on stage; relaxed, confident and thoroughly at ease. He maintains he doesn’t tell jokes – probably true – but that doesn’t stop the evening (or the first half at least) from having plenty to laugh at. He presents us with an inverse pyramid of theories; at the upside down apex, ideas which are within a hair’s breadth of reality. At the other end of the scale, stuff that’s completely doolally. And he takes us through a few of these ideas to test their reasonableness, and then raconteur his way through his experiences, trying to prove or disprove them.

For example, did you know that some people think that Finland doesn’t exist? That it’s an invention between the Russians and the Japanese to fish the waters of the Baltic and then secretly transport their catch eastwards? They believe that anyone who says they are a Finn is really a Swede. Hmmm. Well, I’ve been to Finland three times and can attest there is definitely land there. And would they really doubt the word of the great Lasse Viren? That one’s bonkers.

But what about Denver International Airport? No one doubts that its existence, but what secrets might it be hiding? Do you believe in UFOs? Dom Joly’s been to Roswell to find out (so that we don’t have to). And how about the assassination of JFK? At the top of the scale is where the Illuminati sit side-by-side with the Flat-Earthers, and Mr J has even been to Fogo Island, Newfoundland, where that latter group believe one of the four literal corners of the earth is situated (Clue: it isn’t.) There’s no doubt that he’s put the work in to make his book a definitive account of conspiracy theories and, as a comedy lecture, the first half works well.

However, after the interval things fall apart somewhat. After a lengthy introductory video, we meet Dr Julian Northcote, conspiracy theorist extraordinaire, who regales us with a few stories and attempts to prove his ridiculous ideas. Spoiler: it’s Dom Joly in a wig and glasses doing what feels like an impersonation of a Harry Enfield character. Once he’s been bundled off stage for improper behaviour, Mr Joly returns for a Q&A session; this always strikes me as being a way of a performer saying I can’t quite work out how to end this show, so you end it for me. There were a few questions about conspiracy theories, about which Mr J was rather dismissive, I thought; and a few questions about the Trigger Happy days with which he was more comfortable. It ended with a final look at conspiracy theories and the promise of an assignation in the foyer to buy his book and take selfies. And, to be fair, he had quite a queue forming when we left.

A curate’s egg of an evening, but when Mr Joly gets going on the subject of his expeditions to sort the wheat from the conspiracy chaff, he’s on great form. Only a couple more shows left of his tour now – in Carlisle and Stockton-on-Tees.

Review – Russell Hicks, Happy to be Here, Royal and Derngate, Northampton, 20th October 2024

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It’s been ten years since we first saw Russell Hicks, since when he has been a mainstay in our comedy list of must-see favourites. A regular pop-up at comedy clubs, this is his first proper UK tour; it’s ten years since he moved here, and he’s clearly decided that he’s Happy to be Here (as that’s the title of the show). Of course, all proper UK tours have a support act; and his is Russell Hicks, in the form of an introduction, who comes on for twenty-five minutes for a bit of banter and get-to-know-you. After the interval he returns as Russell Hicks, headliner, where he actually appears to have some pre-prepared material. I know! I couldn’t believe it either.

If you’ve seen him before, you’ll know that he’s all about reacting to whatever accidental comedy gems the audience throws at him – and he’ll run with them as surely and swiftly as if Usain Bolt were nipping at his heels. The man has an extraordinary memory and attention to detail; the tiniest fact that might have been briefly mentioned an hour and a half earlier and to which no one paid any real attention, will suddenly reappear as a callback from the Gods. An undeniable fact: sit anywhere near the front and it’s likely you will be part of the action. Fortunately, he comes across as hugely likeable, so he can get away with the most merciless of teasing; and whilst he does have a slight sense of danger about him, none of his humour is ever cruel. In fact, the badinage is often supportive and kindly.

From conversations with audience members, we learned how Iain is a football darts kind of guy, Marco is from Germany but has an Italian name because it was trendy at the time, Sam is a 20 year old electrician with the world at his feet, Danielle and Ryan were probably at it in the car during the interval, the man from Turkey has been here 29 years and is with Him Tim, and the couple in the front row had separate children (and pets) and lived in Rushden, which, apparently, is located just on the other side of the emergency exit. The show is nothing if not informative.

As indicated earlier, it’s not all audience-riffing. Ten years of living in Britain has revealed to him the true British behaviour on board trains – especially the late night ones, the nonsense of him passing his driving test on Skye, the differences between boy and girl children, and an appreciation for all the accents that the United Kingdom boasts. Such a shame he can only do one of them – norf London geezer (or for women, Essex girls). A brief brush with American politics shows why he can’t really disapprove of Donald Trump – it’s a tongue in cheek moment, don’t worry.

Above all, he is really happy to be here, and we’re very happy to have him. All that thinking on his feet must be exhausting – as a result no two Russell Hicks shows are ever the same, but they’re always full of laughter. As an example, he must have mined at least ten minutes of material from speculating on the differences between shows in the Royal (very aspirational), in the Derngate (not at all aspirational), and in what he called the Cinema Room, where he found himself – in reality, the rather unforgiving Screen 2 of the Northampton Filmhouse, whose career as a comedy venue will hopefully come to an end soon when the Underground finally reopens after they’ve got rid of all that RAAC. Whatever the venue, as an Official Hicksie (that’s what we are, apparently), he’s always welcome. The Happy to be Here tour continues on-and-off throughout the UK until April 2025, and you’d be daft to miss it.

Review – My Eyes Are Up Here, Sarah Keyworth, Royal and Derngate, Northampton, 27th September 2024

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What a remarkable ascent up the greasy pole of comedy success Sarah Keyworth has achieved over the last couple of years! It was only last September that we saw them at the Charles Bradlaugh pub in Northampton. Now they are taking their successful Edinburgh show on tour around the country, including a sold-out date at the London Palladium next February! That’s some achievement, and fully deserved for what must be one of the most assured comedians on the scene.

But first, our support act was Louise Atkinson, a bright and boisterous stage presence who grabs our attention from the start. Instantly likeable, she blames her behaviour on the fact that she lives by herself and so needs to talk to people whenever she can. She engaged the services of front row ex-policeman Stuart to alert her when she might trip over her microphone wire or potentially split her trousers; he was to shout Bollock! if it was to happen; she didn’t, but he did. She describes herself as the Yorkshire Shakira – it’s all in the hips – and has some brilliant material about the way people look, and much more besides. She offered us an alternative ending to her show – we opted for a mind blowing way of showing passive aggression in a text. Very funny throughout, we’d look to see her doing a full show if the opportunity arises!

As soon as Sarah Keyworth walks out on stage, you know you’re in for a good time, because they’re just so amazingly reassuring to the audience. They were obviously very well brought up in a very nice family, because their innate politeness just shines through, both in the pre-prepared material and any off-the-cuff interaction with the audience. If they talk to you, it’s always thank you for coming and lovely to meet you and it is a genuinely welcoming feeling; you never get the sense that it’s put on just for the show. That makes their brilliant routine about the pitfalls of managing a lesbian foursome even more hilarious, because you can just imagine them trying to be the perfect host, making sure everyone has all their needs attended to.

At the heart of My Eyes Are Up Here is the story of the elective surgery that Sarah Keyworth had last year to have a double mastectomy. This is never something that anyone would undertake lightly. It seems that ever since they were a child, Sarah has rebelled against anything girly, including wearing the horrible dress that constituted their first school uniform. Their hero – as far as an ideal body look was concerned – was their older brother Tom, and you can tell they are genuinely thrilled to be looking more like him than ever before.

Although there is a serious element to the show, it is also crammed with heaps of fun and the laughs come thick and fast. They have a brilliant positive spin that they put on any negative comments received by online trolls, plus a moment or two to celebrate good men which is nothing if not inclusive, and a wonderful account of inviting a male stripper to a hen do in a Devon caravan. Much of their material reverts to their relationship with their mother, who sounds like a most remarkable woman, and there’s an amazing feelgood ending to the show which makes everyone go home feeling happy.

Sarah Keyworth’s My Eyes Are Up Here UK and Ireland tour continues through till March 2025, but with many venues already sold out; and don’t even think of trying to come to the Palladium.

Review – Screaming Blue Murder, Screen 2 at the Filmhouse, Royal and Derngate, Northampton, 15th September 2024

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Forgive me Father, it’s been four months since my last Screaming Blue Murder. And haven’t things changed since then? Sadly, not all for the best (frankly, not at all for the best), but more of that later. One aspect that remains as constant as the Northern Star, is the presence of MC Dan Evans, the host with the most; indeed, one sometimes wonders where we would be without him. As always, Dan got to grips with discovering the ins-and-outs of the audience members, including the young man who worked in the warehouse and his other half who worked in The Artichoke (don’t know it, but it sounds posh), and the man from Rugby who accidentally arrived a week early for a show in the Royal, but thought he’d take his chance with a spot of comedy instead.

Our first act was Becky Umbers, a diminutive New Zealander with a bright personality and a gurgly voice. I’m not being rude here – Ms Umbers devotes at least 30% of her act to various observations about her vocal tones; she readily admits even other New Zealanders can’t understand her sometimes. She has a nicely confiding style and some unique stories, all of which, you sense, are probably pretty much true. It’s with a certain degree of shame that she tells us of the road trip where – basically – she knocks down a kiwi; no, not one of her fellow citizens but a real kiwi, which is probably a worse crime as they’re endangered. Delivered with confidence and an endearing personality, it was slightly low on laughter, but that was probably due to the size of the audience (clue: it wasn’t a big audience.)

Next up we had Gbemi Oladipo, a lively Nigerian in a jumper almost as loud as him. He bursts forth on the stage with no holds barred and delivers a serious of sharply comic observations with attack and a huge sense of fun. He plays off the audience with ease and is quick to pick up on any verbal (or even visual) reactions anyone might have to his stories. I loved his material about the ignominy of dying on a Ryanair flight, and why, at his age, he’s decided it’s time for him to start drinking. He has a very engaging stage persona and we’d be very happy to see him again.

Our final act was… no, there was no final act. Since Screaming Blue Murder has transferred to the Filmhouse – temporarily we hope, whilst the Underground space is finally made safe from all that RAAC – it’s bucked the trend of most other comedy nights and gone from three to two comedians (but for no reduction in ticket price, I notice). To be fair, although Screen 2 is not the ideal venue for a comedy night, needs must and it has enabled Screaming Blue and other comedy performers to continue to come to the Royal and Derngate throughout this period; keeping the brand alive, so to speak.

But there are other signs that standards are declining. Nothing to do with Mr Evans or the acts who are appearing; but simple things like a confusion over when the show should start (7.30pm on the ticket, 8.00pm on the website), the music playing as you enter the auditorium was extracts from Madame Butterfly (we had that at my mum’s funeral – not very conducive to loosening one’s chuckle muscles), moving from Friday night (carefree) to Sunday night (a school night) and scheduling SBMs so that they clash with big names next door in the main theatre – Milton Jones had a full house in the Derngate at the same time. The audience at last night’s Screaming Blue numbered about 22, which is frankly pitiful; what’s worse is that it was probably the largest audience in there since the move to the Filmhouse.

Screaming Blue Murder has such a fine tradition of providing excellent value, top quality comedy shows that it’s a real shame that it’s suffering in this way. The one thing that would improve the experience would be for more people to attend, so come on, people of Northampton, Your Screaming Blue Needs You! But a return to three comedians would also be an improvement – it’s a standard structure for a comedy show with proven success. Get the basics right, and happy comedy nights will follow! Having said all that, we can’t come to the next show on 13 October, which is a shame because it features the superb Markus Birdman and Jenny Collier, so it will be a riot. But you should!

Review – Comedy Crate at the Charles Bradlaugh, Northampton, 12th September 2024

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Good to be back at the Bradlaugh for a sold out show with a top line-up. Our host for the evening was Jason Stampe, a jovial chap who kept things moving smartly and mined some great laughs out of the modestly drinking 24-year-olds and the Amazon Van Man and family in the front row. During the course of the evening we also heard about his experiences as a comedian on cruise ships – having seen many such shows on cruises, my heart went out to him –and his battles for supremacy at home with his son. An MC who has loads of good material as well as interaction with the audience? Jason Stampe’s your man.

Our first act was Paddy Young, who had garnered lots of splendid reviews at this year’s Edinburgh Fringe. Delightfully self-deprecating, Paddy Young delivers his material as though he knows he’s going to go down badly, but that’s far from the truth. He has some very clever ideas about the showers at the gym, the differences between landlords and landladies, and a cheap alternative to heating one’s flat.His opening material about Huel went over the heads of 90% of the audience (ours included) – but when we got it, we got it. His interactions with the crowd were sharp with a slight air of danger, but his overall stage persona is very funny and engaging. He’s clearly going places!

Next up was Chin Wang, born in China, now a Brit, with some beautiful comic observations on the vagaries of the English language, to which she returns regularly throughout her set. She has excellent material on the cultural differences between the two countries, including the desirability to get tanned (or not) and how welcoming the nations are to immigrants (or not). Full of funny and intelligent observations, she went down extremely well with the audience.

Our headliner was Paul Sinha – no stranger to Northampton, and always a welcome return guest. His set was largely an account of his life-story, from before he was born, through training to be a GP, finally getting a boyfriend in his forties, to where he is today. Having battled with a number of health problems over the past few years – all of which play a part in his routine – the Sinhaman was on blistering form with hilarious punchline after punchline, getting brilliant humour out of the darkest of places, and having a good laugh at his own situation in the process. I think it’s fair to say that the audience were ecstatic in their appreciation! A blissful end to a great night.

Unfortunately, we can’t go to the next few Bradlaugh nights – but I trust that you will, because there are some great names ahead!

Edinburgh Fringe 2024 – It’s a Wrap!

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Phew – What a Fringe! We arrived on 30th July and we left on the 27th August. During that time we saw 158 shows, which was four fewer than I had planned but was thirteen more than last year; and last year we also saw thirteen more than in 2022, however I can’t see that record being broken next year. With Oasis currently scheduled to have three concerts during the Fringe, I can’t even see how half the performers will be able to afford to be in Edinburgh!

Here’s a quick reminder of the 4 and 5 star shows we saw, by star rating and in date order of when we saw them:

5 STARS:

Mhairi Black: Politics Isn’t For Me

Goose’s Quizzes Elimination Game

Casting The Runes

Tarot: Shuffle

Catafalque

Janie Dee’s Beautiful World Cabaret

KAREN

Our Little Secret

The Chaos That Has Been and Will No Doubt Return

Robin Grainger: Refurb

It’s The Economy, Stupid

For The Love of Spam

I Am George Massey

Emma Sidi is Sue Gray

Pete Heat: Bogus

The Book of Mountains and Seas

MILF and the Mistress

Galahad Takes a Bath

1 Moment in Time (Sean Alexander)

I Am Your Tribute (Sarah-Louise Young)

Garry Starr: Classic Penguins

Josh Jones: Put a Sock in It

Werewolf

Weather Girl

The Bookies

The Scot and the Showgirl

Tom Greaves: Fudgey

4 STARS:

Shellshocked

Sell Me I Am From North Korea

Will Sebag-Montefiore: Will Of The People

Reginald D Hunter: Fluffy Fluffy Beavers

Liam Farrelly: Flipbook

Cabaret of Filth

House of Life

Glitch

Arturo Brachetti: Solo

1 Hour of Insane Magic (After Dark)

Kavin Jay: Unsolicited Advice

Heckling Masterclass with Diploma (Ben Clover)

SILENCE! The Musical

Ascension

Daliso Chaponda: Feed This Black Man Again

Malion

The Last Laugh

A Jaffa Cake Musical

Colin Hoult: Colin

The Shadow Boxer

Rob Auton: The Eyes Open and Shut Show

Pillock

Come Dine With Me: The Musical

Rhys Nicholson: Huge Big Party Congratulations!

Dead Mom Play

The Shroud Maker

N.Ormes

Jack Goes To Therapy

The Gentleman of Shalott

Alexandra Haddow: Third Party

Lads of the Flies

Ajahnis Charley: Thots and Prayers

Dan Tiernan: Stomp

Dissociation

Fifty Minutes to Save the NHS

Martin Rowson: Shred the Front Page

Randy Feltface

If I Live Until I Be a Man

Yes We’re Related

Tales from a British Country Pub

Sherlock Holmes: The Last Act

Nick Schuller: Still Dry White

Chloe Petts: How You See Me, How You Don’t

Finlay Christie: I Deserve This

Joe Wells: Daddy Autism

Lessons on Revolution

One Man Poe: The Black Cat and The Raven

Ryan Cullen: Cullen in the Name of

Leni’s Last Lament

Ghost Light

A Montage of Monet

Naughty or Neurodiverse – Magic from Another Planet (I Am a Mentalist – Angus Baskerville)

Sam See: And I Can’t Feel at Home in this World Anymore

Shower Chair

Notice Box

When Vincent met John

Crime and Punishment

Michael Porter: Love and Brain Damage

Milo Edwards: How Revolting! Sorry to Offend

The Grim

With All My Fondest Love

The Dreamer – Live

An Act of Grace

It’s a Mystery!

September 11 1973: The Day Salvador Allende Died

All The Fraudulent Horse Girls

Stuart Laws Has to be Joking?

Best in Class

The Ghost of White Hart Lane

Kelly Bachman: Patron Saint

What the F*ck Happened to Love and Hope

Phil Henderson: Space Cowboy

Ben Miller: Volcano

Annaliesa Rose Sings the Peter Allen Songbook

Joby Mageean: Titty Icarus

Di(n)e

100% My Type on Paper

Little Deaths

Moscow Love Story

Black Velvet (38 more than last year)

 

Congratulations to all these great shows. I’m fascinated to discover that, although we saw 13 more shows than last year, I’ve awarded 4 stars to 38 more shows than last year – but 10 fewer 5 stars than last year. Also – unlike last year – no 1 star shows, hurrah! And as to working out which of them are the absolute best – you’ll have to wait until the Chrisparkle Awards for 2024 are announced in January!

And thank you, gentle reader, for sticking with me throughout this busy month! My viewing/reading statistics continue to climb upwards and are about 50% higher than the numbers who checked out my reviews at the 2023 Fringe – so thank you very much for that! And remember – reviews are only what one person thinks, they’re purely a personal reaction. And star ratings are even more unreliable!

Edinburgh Fringe 2024 Reviews (final day) – Moscow Love Story, Black Velvet, The Scot and the Showgirl, and Tom Greaves: FUDGEY

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Moscow Love Story, Pleasance Courtyard.

4-stars

With the help of cassette tapes from 23 years ago, Paul Jenkins relives the time when he moved to Moscow to teach English for a year and to spend the time embracing Russian culture, food, music and getting to know the people. It had been well over ten years since the fall of the Berlin Wall and things were very different in Moscow from the Communist era, with a much greater Western influence; for every pickled cucumber seller, you’d find a Gucci handbag on sale. While he was there, Paul met Angie, a student from Manchester, and they had a riotous time together, trying different experiences – in retrospect, not all of them advisable – as well as falling in love. Moscow Love Story demonstrates that you should never deny the experiences of the past, even if you wouldn’t choose to do them today. A fascinating structure for the show, and Paul Jenkins brings his memories to life with a riveting and engaging performance. I found the story spellbinding!

Black Velvet, Bedlam Theatre.

4-stars

Llew goes to visit his mum’s grave for a catch-up chat with her; he brings his tea and biscuits – they could be in for a long session. Just as he’s settling down he realises a young Irish girl, Aoife, has been sleeping rough behind the grave. Neither is best pleased to realise that they’re not alone, but a series of turbulent conversations sees them both accepting and learning from each other. Grief takes many forms, and this play not only considers the effect when one’s parent dies through suicide, but also examines the unusual problem of a child losing a parent to early-onset Alzheimer’s. A tough and moving problem indeed. Engaging, at times troubling, and always thought-provoking, it’s immaculately performed by Charles Ison and Christina Knight, whose Irish accent is phenomenal! Very impressive throughout.

The Scot and the Showgirl, Pleasance Dome.

A cabaret-de-force from the incredible Frances Ruffelle and Norman Bowman (the Showgirl and the Scot in reverse order), telling the story of their relationship through an inspired selection of songs from the shows and other popular music, accompanied by the terrific Kate Shortt, Nick Anderson and Ryan McKenzie. So many musical highlights include a spiky Country House duet from Follies, a stunning performance by Beausy of Burt Bacharach’s A House is not a Home, a fantastic Man That Got Away by Frances Ruffelle and – to make the hairs on your arm stand up on end – Frances gives us a tear-inducing On My Own from Les Miserables – she was the original Eponine, after all. A truly quality of hour of emotional musical power – I loved every minute of it.

Tom Greaves: FUDGEY, Assembly Roxy.

We all know a Fudgey. He teases, he boasts, he charms and he bullies. He’s got great mates, but only if he can get the better of them. He oozes confidence, but it’s built on a precipice of fragility that only he needs to know about. And who is Fudgey? He’s the product of an archaic educational system where a boy goes to boarding school at the age of seven to make a man of him; ignoring the fact that at seven you’re neither a man, nor do you need to be one. Tom Greaves’ blisteringly funny but heartbreakingly painful Fudgey propels a boy who can’t even pronounce Maid Marian correctly into the realms of sporting hero and misogynistic smartarse. A mixture of superb physical comedy, clowning, brilliant crowd interaction and – let’s not deny it – outright therapy, Fudgey is a stunning show that develops in the mind and the heart long after you’ve gone home. Amazing work – highly recommended.