Casey is immune to awkwardness; he’s the kind of bloke who keeps digging so far into a hole that when he finally ploughs through to the other side you are helplessly laughing. He is the best man you are silently willing to stop speaking before he ruins the wedding, crossed with the buddy you want to cheer on.
The idea behind Nerdlesque is that nerd culture meets burlesque performance, and there were plenty of tributes to Lord of the Rings, Star Wars and even Predator. Unfortunately, the segues between acts were far from seamless, and this was a show that showed it stitching.
True Story is a completely original cabaret piece based on strange but true tales collected from all round the world. From a vengeful dentist to a kid that dreams of mythical creatures, Ruth Wilkin compiles these wacky and wonderful stories into delightful cabaret ditties.
Hans the German took to the stage in typical flamboyant style – overtly loud and donned in a revealing sequinned bodysuit. This was only the beginning of many risqué costume changes and dance moves that would be performed in front of a packed Spiegeltent that night.
Chelsea Evans and Eddie Morrison deliver remarkable performances, clearly exhibiting every emotional nuance and change of beat. Not a second is wasted, and director Lisa White and assistant director Hannah Bennett should be praised for their innovative and breathtaking use of the confined space available.
Green flies energetically through his show from one priceless anecdote to another and even where a joke fails to land, or an accent suddenly switches continent, he brings the laughs back with clever improvisation and quick wit.
It is scarcely to be believed that so much can be packed into a single hour, and yet in La Scala’s presence time stops and you find yourself spellbound.
I reserve the highest props for comedy which looks to be personal, daring, sophisticated and original all at once. Of the few shows at this Fringe that tick all those boxes, Red Bastard has to be one of the most obnoxious and crass entries in the category.
[EastEnd Cabaret offer] saucy, classy, daring and accessible entertainment that leaves you with plenty to tell your workmates about in the lunchroom the next day.
Love-Song-Circus is powerful, uplifting and gut-wrenchingly beautiful. Noonan gives voice to the long-unspoken stories of the female pioneers of Australian stoicism.
Add to this a Freddie Krueger rap from a Nightmare on Elm Street, featuring dubious sexual references “not in the backdoor” and you have a vastly inappropriate and often hilarious show. The show is not perfect, but the delivery is and Christine and Phelan excel.
FOMO: The Fear of Missing Out is a hilarious, theatrical sketch-comedy not to be missed.
[Kraken] is hilarious, charming and unique in about equal measure. A thing to be seen.
An up-and-comer to look out for, Hodge is sure to delight, and will hopefully return next year with even more stories.
The humour was spot on. A bit outlandish and crude at times but set up well, earning groans and surprised laughter.
What the masses said