fri 23/02/2018

Comedy reviews, news & interviews

Rose Matafeo, Soho Theatre review - sassy and she knows it

Veronica Lee

New Zealand comic Rose Matafeo is a fan of romcoms and has decided she is destined to appear in one at some point in her career.

Hannah Gadsby, Soho Theatre review - misogyny explored

Veronica Lee

Hannah Gadsby was awarded best show (jointly with John Robins) at the 2017 Edinburgh Comedy Awards for Nanette, which had already been given the equally prestigious Barry award at last year's Melbourne Comedy Festival.

Andrew Maxwell, Soho Theatre - insightful...

Veronica Lee

“I don't want to talk about Donald Trump,” Andrew Maxwell tells us as he comes on stage at the beginning of Showtime, because no matter what comics...

Chris Rock, SSE Wembley Arena review - energetic...

Veronica Lee

Chris Rock, another fine alumnus of the comedy factory known as Saturday Night Live, rarely comes to these shores, so his short arena tour was...

Leicester Comedy Festival Gala Preview Show -...

Veronica Lee

In the early 1990s, a group of students at Leicester Polytechnic (now De Montfort University) staged an end-of-year comedy project. Three of them –...

Best of 2017: Comedy

Veronica Lee

The shows that have stayed with me

Margaret Cho, Hen & Chickens Bristol review - sex and drugs, no holds barred

Veronica Lee

US comic tells it like it is

The Elvis Dead, Soho Theatre review - schlock horror told through Elvis songs

Veronica Lee

Excellent spoof tells the story of Evil Dead 2 through the oeuvre of the King

Natalie Palamides, Soho Theatre review - delightful and disturbing show about motherhood

Veronica Lee

Playful and knowing character lays an egg every day

John Bishop, O2 review - Everyman comedy with a hint of subversion

Veronica Lee

From Bono to Brexit and back again

Kerry Godliman, Touring review - affable and down-to-earth humour

Veronica Lee

A canny look at social mobility

Mat Ewins, Soho Theatre review - multimedia show with twists in the tale

Veronica Lee

Not just an entertaining Indiana Jones spoof

Ahir Shah, Soho Theatre - a bravura response to Brexit vote

Veronica Lee

Angry, passionate and political

Mae Martin, Soho Theatre review - life is a drug

Veronica Lee

Dry storytelling about an obsessional life

Edinburgh Festival and Fringe 2017 reviews round-up

Theartsdesk

theartsdesk recommends the shows to catch this August

Edinburgh Fringe 2017 reviews: Ingrid Oliver / Darren Harriott / Jayde Adams

Veronica Lee

An excellent mimic, a strong debut, and a dynamic entertainer

Edinburgh Fringe 2017 reviews: Hannah Gadsby / Suzi Ruffell / Ivo Graham / Athena Kugblenu

Veronica Lee

A possible valediction, class concerns, feeling the privilege, and millennial politics

Edinburgh Fringe 2017 reviews: Tom Allen / Cally Beaton / Lauren Pattison / Trumpageddon

Veronica Lee

A happy anniversary, neural pathways, an assured debut, and a deflated Trump

Edinburgh Fringe 2017 reviews: Kiri Pritchard-McLean / Dad's Army Radio Hour / Elliot Steel

Veronica Lee

Unlikely subject matter for gags, an old favourite revived, and one for the millennials

Edinburgh Fringe 2017 reviews: Tiff Stevenson / Jarlath Regan / Urzila Carlson

Veronica Lee

The politics of beauty, the comedy of organ donation and big laughs from the southern hemisphere

Enter theartsdesk's Young Reviewer of the Year Award

Theartsdesk

In association with The Hospital Club's h.Club 100 Awards, we're launching a new competition to find a brilliant young critic

Russell Brand, Touring review - grandiloquent performer in reflective mood

Veronica Lee

Fatherhood prompts a look back at earlier misdemeanours

Jeremy Hardy, Brighton Festival review - expert raconteur shows political bite

Thomas H Green

Radio 4 regular's conversational style masks a passionate pin-sharp topicality

Ricky Gervais, Touring review - chatty and relaxed riffing

Veronica Lee

Some very personal material among the edgy content

Ayesha Hazarika, Soho Theatre review - 'politics is her patch'

Veronica Lee

Former Labour adviser finds the funny in politics

Our Friend Victoria review – ‘Victoria Wood’s genius is irreplaceable’

Jasper Rees

Julie Walters presents the first part of BBC One's series celebrating a comedian without equal

Russell Howard, Touring - 'the passion and anger are real'

Veronica Lee

An amiable mix of sex and politics

Peter Kay's Dance for Life, Ricoh Arena Coventry

Veronica Lee

School disco with lots of laughs

Miles Jupp, London Palladium

Veronica Lee

A gentle meander through life's vicissitudes

Footnote: a brief history of British comedy

British comedy has a honourable history, dating back to Chaucer’s Canterbury Tales, through Shakespeare’s and Restoration plays to Victorian and Edwardian music hall and its offspring variety, and on to Monty Python’s Flying Circus, working-men’s clubs, 1980s alternative comedy, and today's hugely popular stand-up acts in stadiums seating up to 20,000 people.

In broadcast media, the immediate decades after the Second World War marked radio’s golden age for comedy, with shows such as ITMA, The Goons, Round the Horne and Beyond Our Ken. Many radio comedy shows transferred to even greater acclaim on television - such as Hancock’s Half Hour, The Hitchhiker's Guide to the Galaxy, Knowing Me, Knowing You, The Day Today, Red Dwarf, The League of Gentlemen, Goodness Gracious Me and Little Britain.

In television, the 1970s and 1980s were the great age of British sitcom, when shows such as Steptoe and Son, Till Death Us Do Part, Rising Damp, Dad’s Army, Porridge, Yes, Minister, Only Fools and Horses, Fawlty Towers and Blackadder. They were marked by great writing, acting and directing, although the time should also be noted for great British dross such as On the Buses and Love Thy Neighbour.

By the 1990s, British sitcom had developed into intelligent über-comedy, with shows such as Absolutely Fabulous and The Office making dark or off-kilter (although some would say bad taste) shows such as Drop the Dead Donkey, Peep Show, Green Wing and The Inbetweeners possible. In film, British comedy has had three great ages - silent movies (Charlie Chaplin being their star), Ealing comedies (Passport to Pimlico perhaps the best ever) and Carry On films. The first are in a long tradition of daft physical humour, the second mark the dry sophistication of much British humour, and the last the bawdiness that goes back to Chaucer.

The 2000s marked the resurgence of live comedy, with acts (including Jimmy Carr, Peter Kay and Russell Howard) honing their talents at successive Edinburgh Fringes and their resulting TV, stadium tour and DVD sales making millionaires of dozens of UK comics. Comedians cross readily from TV to stand-up to film to West End comedy theatre. The British comedy industry is now a huge and growing commercial business, with star comics such as Peter Kay and Michael McIntyre grossing tens of millions of pounds from arena tours, and attendances of up to 20,000 at venues across the UK.

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