The Glaswegian comedian Janey Godley, the woman who put the punch in punchline, has what she would call a “mooth” on her. It delivers pith and grit and lots of short words needing asterisks. Though possibly not for much longer, as she is in the throes of ovarian cancer.
I first saw Bill Bailey at least 30 years ago in the cabaret tent at Glastonbury Festival, the audience lying on hessian matting, a fug of hash smoke in the air. He seemed one of us, a bug-eyed, Tolkien-prog hippy with a stoned sense of humour and charged musical chops. A lot of water under the bridge since then. Animal rights champion. Won Strictly Come Dancing.
Lord love a duck, Elsie, music ’all’s ’avin a bleedin’, whatchamacallit, comeback, innit? The release of Joe Jackson’s 19th studio album Joe Jackson Presents Max Champion in What a Racket! a week after Madness’s Theatre of the Absurd Presents C’est la Vie might prove the full extent of this revival.
F. Scott Fitzgerald said there were no second acts in American lives, but here’s Frasier Crane coming back for his third. Frasier first appeared on TV in the third series of Cheers in 1984. After Cheers bit the dust in 1993, Frasier was transported from Boston to Seattle and reborn in his own show, which ran until 2004 and stands as one of the most revered comedies in TV history (alongside, it must be said, Cheers).
The Saphead gave Buster Keaton his first starring role in a full-length comedy, but 1923’s Three Ages is the first feature film which he wrote, produced, directed and starred in. Two-reelers were a form where he could go, in his words, “wild and crazy”, the more outlandish the visual humour the better.
Despite its cursory nods to new technology, there’s something deliciously old-fashioned about Only Murders in the Building. Now into its third series, it tells the stories of a trio of affluent Manhattanites who make true-life podcasts about the mysterious deaths that occur in their palatial Upper West Side apartment building.
Young women who were riveted by Helen Fielding’s Bridget Jones columns in the 1990s are now probably of the age where the menopause is, or has recently been, a bigger concern than landing your own Mr Darcy. Which is why Bridget Christie’s The Change (Channel 4) has arrived with ideal timing.
We all need a break from time to time, especially now given the grim state of the world. So it’s not surprising that comedy is making something of a comeback in the West End: Operation Mincemeat; The Unfriend seen recently at this theatre; The Play that Goes Wrong and all its offshoots; and now Bleak Expectations, an affectionate send-up of the various tropes of Charles Dickens.
Anyone expecting to see the Big Yin himself, Gary McNair breathlessly explains as he dashes on stage, should nip out and ask the box office for a refund. It’s an ice-breaking gag that sets the tone nicely for McNair’s fast-moving, often snort-inducingly funny tribute to Billy Connolly, whose production by the National Theatre of Scotland is touring the country until the end of June.
In 10 series stretching over the last 18 years, ITV's Doc Martin unobtrusively became an enduringly popular household name, but it finally reached the end of the road with this Christmas one-off. Unless, of course, there’s a prequel, a sequel, an origin story or a transformed internationalised version from Netflix.