It’s July again, which means another annual Comedy Crate Weekender with two days of comedic mayhem, split over three venues in Northampton town centre. Only £40 for two days which means you can see ten class acts for a mere £4 a session; so cheap it ought to be illegal. A very hot weekend was both a help and a hindrance, in that it makes for a generally happy bunch of people all enjoying interval drinkies in the sunshine, and fortunately the aircon in the Bradlaugh is super effective. But even being reduced to a sweaty mess in the other venues (multiple electric fans notwithstanding) was not enough to reduce the spirits of a fully sold out event, which took place without a hitch. Or if there were any hitches, the Comedy Craters kept them a secret, so well done to them.
The idea of the Weekender is that there are 25 acts, out of whom you can see a maximum of 10, all sharpening up their Works in Progress in preparation for either the Edinburgh Fringe, or a national tour, or just generally working up new material. As such you might see a show that’s already pretty darn perfect, or you could see something where the audience are guineapigs for the comics to find out what’s funny and what’s not. Mind you, they’re all ace at their game, so even material that only just fails to meet their exacting standards can still be pretty funny to the rest of us.
Everyone will have had a different experience at the Weekender, depending on which shows they chose to see, so I can only tell you about what we saw. And of course, dealing with 25 acts is potentially a nightmare of its own. If you went to see a show with a cast of 25 you wouldn’t be remotely surprised to have one or two understudies if someone is not feeling well.
And that’s exactly how our Weekender started, with the unexpected attendance of President Obonjo standing in at very last minute for Helen Bauer for the first show at the Lamplighter. Only three or so hours before he was on stage, he was enjoying tea and toast over a leisurely breakfast in his Presidential Palace; but fortunately His Excellency was able to step in and save the day. He’s not taking a show to Edinburgh but just fleshing out some new material, so of all the acts over the weekend his was perhaps the one most in flying by the seat of his pants mode.
Nevertheless, the President is such a joyously inventive comic creation, that it’s always a pleasure to have an audience with him. And his new material comes from a fascinating place; at the risk of sounding like a pensioner so much is wrong with the world today, and so much of that is because you can’t tell fact from fiction – the lies spouted by politicians and influencers, and social media claptrap and all that. Thousands of Tiktokers believe Obonjo is a real president of a real republic somewhere in Africa. And he’s moulding that fact into a rather surreal show that balances the rubbish people are led to believe against what is genuinely the truth. It’s an idea with legs, and I’m sure the President will turn it into a great show.
From one level of preparation to the extreme opposite; our next show was Thor Stenhaug with a preview of his Edinburgh show One Night Stand Baby, and this one is all packaged up and ready to rock. Thor Stenhaug is a new name to us, and, on the strength of this performance, it’s one of those delightful occasions when you can happily announce, a star is born. A hugely affable and friendly presence on stage, Thor explains how he moved to London from Norway, how he got into comedy, and all about his big relationship with Daisy. But it was when Daisy’s parents asked about Thor’s parents, that he had to confess he is the product of a one-night stand; and he’s not the only one in his family who is! Honestly, those Norwegians! His routine is packed with original material, fluidly and confidently delivered, with some wonderful appreciation for English turn of phrase, effortless callbacks, and some surprising use of accents – his Scouse is incredible! I can only predict great things for this young man. One Night Stand Baby is on at the Pleasance Courtyard in Edinburgh from 30 July to 24 August and will be a must-see this Fringe.
Next up for us was Toussaint Douglass, with a preview of his Edinburgh show, Accessible Pigeon Material. We’ve seen Mr Douglass a couple of times now and he is very personable and warm character on stage who builds a great rapport with the audience. His new show is very work in progress and has more surreal material than I’ve seen him use before. I must confess, I didn’t really get the pigeon-based stuff; but he has an excellent routine – that still needs work but will get there – where he uses a member of the audience and a boxing glove puppet to express how difficult it can be to get your father to tell you he loves you. Hoping it all shapes up in time for the Fringe, but he’s a great comic so I’m sure it will. Accessible Pigeon Material will be on at the Pleasance Courtyard from 30 July to 24 August.
Next was someone I’ve wanted to see for a long time, and he didn’t let me down. Charlie Baker, an irrepressibly cheeky chappie, is working up material for a new show next year. He’s one of these innately funny people who could make you laugh just by reading a shopping list. And the basis of his new show is very simple; people he hates. Not named individuals, that would be ridiculous; but categories like Retired People at the Supermarket at Weekends, or People from Surrey. You instantly get it. He fills out each of his categories with wickedly funny material, not only verbal but often physical – he’s terrific at physical comedy, even incorporating a bit of dance and singing into the routines. He has some brilliant ideas – the Devon Rat Pack for example, or my favourite, the Millwall Magician, where he basically intimidates you into agreeing that, yes, that was your card, otherwise you’d get A Visit from the Boys. Not a huge amount of material yet, but what there is, he spins into comedy gold. Fantastically funny.
Our last show of the first day was Tom Rosenthal, with a preview of his Edinburgh show, Whatever People Say I Am, That’s What I Am. I’ve only seen Mr Rosenthal once before, and that was earlier this year in Chichester’s production of The Government Inspector. I confess I haven’t seen him in Friday Night Dinner or Plebs, because I’m more of a live entertainment kinda guy than a TV watcher. However, unfortunately, quite a lot of the material in his show is based on references to those TV shows, and because I didn’t get the references, I missed out on the laughs. He’s obviously a very quick witted and intelligent fellow, and his delivery is slick and sure-footed. The set was curiously all about him, and I don’t mean that unkindly. Where many comedians take their own experiences and make them relatable so that we can all recognise our own experiences within them, Mr R’s experiences are purely about himself, without inviting us to see how we might be able to share in them. It’s as though he sets up a barrier and all we can do is observe him without feeling what he feels. I’m sure that if I had seen his shows I would have enjoyed it more, and I sense that if you are a Friday Night Dinner fan you’ll love it. Whatever People Say I Am, That’s What I Am is on at the Assembly Roxy in Edinburgh from 30 July to 24 August.
Sunday started with a preview of Glenn Moore’s new Edinburgh show, Please Sir, Glenn I Have Some Moore? and is another work in progress where pretty much all the progress has already been made. Glenn Moore has one of the fastest brains in comedy and this is another of his intricately plotted, extraordinarily creative and extremely funny hours of stand-up. His premise here is to explore why he’s not the most assertive or people, illustrated by comparing himself to his go-getting cousins, Benji the stripper and silent Ursula. The centrepiece of the show is a car journey driving to Death Valley which gets more and more panicky as it progresses, but en route Mr Moore brings in so many side jokes, some of which have a delicate subtlety that fill you with pleasure when they finally make sense. A total master of the art of callback, neither a word nor a gesture is wasted in this show and it’s a joy from start to finish. Please Sir, Glenn I Have Some Moore? is on at the Pleasance Courtyard from 30 July to 24 August.
Next up, and someone we haven’t seen in ten years, was Tiff Stevenson, with a preview of her new Edinburgh show Post-Coital. This was another work in progress performance and consisted of a sequence of only lightly connected observations, some of which were very funny, and some of which weren’t – no criticism, that’s what a WIP is all about, after all. The basis of this show is the relationship between sexism and class and where feminism falls in the balance. She has some excellent material about umarells – a term I hadn’t come across before – which describes old retired Italian men lurking at building sites and offering unwanted advice to the workers. Niche, do you think? Maybe, but also very recognisable and funny. Of all the Edinburgh previews we saw, I think this needs the most work to be done, but Tiff Stevenson is a very safe pair of hands and I’m sure it will all come together in time. Post-Coital is on at Monkey Barrel Comedy (The Hive) from 30 July to 24 August.
Our next act was Hal Cruttenden, with a preview of his new Edinburgh show, Hal Cruttenden: Can Dish It Out But Can’t Take It, and is, as he freely admits, the second show he’s created out of the ashes of his divorce. But whereas his previous show It’s Best You Hear It From Me was clearly a mix of comedy and therapy, you sense now he’s truly moved on and is mining genuine comedy nuggets from how he’s been coping as a singleton. He has such an engaging and natural style on stage that you cling onto his every word – which is fortunate, because every word is hilarious. He assesses the audience for possible future divorces, and honed in on me as being the token old man in the audience having fun because you might as well because you haven’t got long. He does offer some serious observations about the way the world is going in this Trumpian era, and he’s darn right with them all. Exceptionally funny and quick to react to everything the audience might choose to throw at him, the show ends with a lovely speech by the Prime Minister that so cleverly assembles a plethora of callbacks. The only thing left for him to “get right” before Edinburgh is choosing which bits to omit, but it’s all tip-top quality. Hal Cruttenden: Can Dish It Out But Can’t Take It is on at the Pleasance Courtyard from 30 July to 24 August.
We chose to stay in the same location for the rest of the day, so our next act was Matt Richardson, with a work in progress of a new show, Brash, that will tour the UK this autumn. We’d seen Mr Richardson quite recently, so that much of his material was not new to us but it is still incredibly funny. It’s an informal and relaxed hour of observations of village and domestic life, gang activity in an Oxfordshire village, how growing up doesn’t necessarily mean you can decide on your own bedtime and a frantically funny routine about massage that turns into what I can only describe as a wankfest. Mr R sets up a terrific rapport with the audience, tells his stories with an engaging cheekiness, and the show is filled with loads of laugh out loud sequences. A very funny chap. Brash continues with a few more WIP performances around the country and the tour starts in earnest in Glasgow on 22nd September through to Milton Keynes on 26th November.
Last show of the day, but certainly not the least, was Rosie Jones, with a preview of her work in progress Edinburgh show, I Can’t Tell What She’s Saying. As she says at the beginning of her show, if you don’t know who she is, she feels sorry for you, because you obviously can’t afford a television. Rosie gives us the lowdown on her life so far, starting off as a seven-year-old pervert – her words, not mine – and taking us through all the benefits of being both gay and disabled. She knows the importance of a perfectly constructed and worded sentence and uses her unique delivery style to accentuate the well-placed pause for maximum comic effect, and it works very well. Supremely confident and effortlessly cheeky, it’s a fun hour that will only improve with more preparation, and that is, of course, what it’s all about. I Can’t Tell What She’s Saying enjoys a week’s worth of WIPs at the Pleasance Courtyard from 11th to 17th August.
A great Weekender completed, thanks to all the comedians and the Comedy Crate maestros who keep the thing moving so well. Recommendations for Edinburgh must be for Thor Stenhaug, Glenn Moore and Hal Cruttenden, and both Charlie Baker and Matt Richardson will be must-sees on tour. In the meantime, there are still a few more Comedy Crate preview shows on sale before Edinburgh starts in a couple of weeks’ time. Snap them up before they sell out!
