Hatred of humanity has never spread as much joy as it does in Jon Richardson’s new show. He is a comedian who has mastered the art of detailing a pathetic existence, revealing his flaws and foibles with such confidence and self-awareness that the audience cannot help but rejoice in them.

Richardson grapples with his natural instinct to become stressed and concerned about inconsequential elements in his life, whilst also resisting the desire to become too relaxed. Broadly speaking, he is looking for the middle ground between winding down the car window to spit at a traffic light that’s turned red and becoming a beggar, singing ‘Don’t Worry, Be Happy’ as a result of carefree recklessness.

His comic genius emerges in the form of animating all of our personal insecurities and our frustrations and aggravations where society and our fellow human beings are concerned. His ability to let his imagination run miles beyond any given situation or happening is the basis of all brilliant comedy. Notably here in his retelling of a regional news story about a Yorkshireman’s discovery of an alligator head on a Huddersfield nature path.

If he continues to open and indulge his Pandora’s Box of obsessions and compulsions then he is certain to cement his place as one of the nation’s most recognisable and, peculiarly, endearing comics. You would hug the lad if there was the smallest chance he wouldn’t vomit on you.

4/5

By Daniel Baird

This is one show that I was urged by a number of people to see. And our boys from Brussels did not disappoint. The appeal of Cirque du Soleil and performances within that genre had previously been a mystery to me. But it is impossible not to become absorbed in the world they have created, their musical mastery and clever clowning.

As they describe it: “in spite of themselves they have discovered that it is better to take gravity lightly and laugh at everything, despair of nothing”.

They present a place where they perform mundane tasks and are advised to control their emotions by an unseen, authoritative voice. Confined together they constantly compete for their own amusement to the unbridled glee of the audience. There are drawn out scenes which may have the minds of some onlookers wandering but invariably this involves patient development that culminates with an impressive punch. Their smart slapstick and slick circus skills have every man, woman and child laughing and gasping in unison.

The sinister, sad clown of Benji Bernard and the smug but admirable premier in Philippe Van De Weghe would be a perfect pair alone. However, there are another two to enjoy. Unlike many troupes at the Edinburgh Fringe Festival this year, Les Argonautes were formed over a decade ago and have been touring this particular show for three years. Their understanding of one another and their breathtaking routine is the secret to their success and something other acts will envy.

4/5

By Daniel Baird

The criticism likely to be levelled at Shappi Khorsandi following her Fringe show this year will be that she is another comedian that has taken ‘talk about what you know’ and doggedly committed to it. Her thoughts on her recent divorce, which undid her fantasy of the perfect career and home life, have replaced the captivating reflections on her experiences as a British Iranian.

It is said that tragedy plus time equals comedy and from the content and delivery of her material this summer it appears that there has not been the time between separation and show to realise heartfelt hilarity.

Her closing tale remarks upon having a bath with her son in which he asked, “Where’s your willy, mummy?” To which she quips, “Mummy doesn’t have a willy. But she has more balls than daddy.” This is characteristic of a show in which Khorsandi is as intelligent and affable as ever but raw point-scoring detracts from her performance.

Her interactions with the audience were brief and bland and, whilst taking into account that the Fringe is the first, full foray into new material, Khorsandi bumbled through her lines at times. She lacked the air of spontaneity and crispness that is crucial to the success of a touring comedian.

What frustrates is the abiding sense that Khorsandi is capable of more; wider-ranging themes and snappier delivery. It is a shame to simply attribute the weaknesses to her domestic strains but she’s put them on show and named the show after them so it’s more than convenient to do so.

3/5

By Daniel Baird

I got to the room, same room where Carnivale was put on, and I should have know that something was going to be up. Before we go onto the room a guy comes up to us and informs us what is going to happen. There is off sense of urgency in the way he talks to us and very quickly we find out what is gong to happen. We are to put white ties on our person, around the arm or waist, and we will be fully involved in the performance, if we do not want to be part of it then we have to take off the white tie and hold it ar arms length.

101 put on FOUR shows a day, as well as Dracula at midnight, and they rotate all four plays so no play is played at the same time or in the same order. The play we saw was My Other, the other plays our My Choice, My Own, and My Duty. Walking into the room we are split up onto male and female, the women sat down and talked with ease, and the men stood in s circle to the  far right of the women.

There was little said and you couldn’t really hear what the women had been talking about which would add a lot of polite tension later on. For us the performers would take turns walking over to us and talking to us, making us straighten out, touching our shoulders, hands, and getting more close that you would think acceptable.

The performance itself was intense, provocative, and strange. Your not really given much, your not told much but your loyalties fall in line and you feel strangely connected with the cast. As the play starts to remove us from the performance they begin to create a conclusion for this world.

This was incredibly brave performance, they have really taken their time in developing their idea and the cast worked well together. Your connected to it more than you would think and the way the guys talk to you your almost seduced into this world they have created.

C soco (studio 4) 15-30 Aug at 11:00 (0hr40)
Tickets £7.50-£9.50 / concessions £6.50-£8.50
Additional performances daily at 12:00, 13:00, 14:00 Recommended age 16+
To book tickets call 0845 260 1234.

Dracula - C Soco

Much like Doctor Faustus or any number of Shakespeare plays Dracula is a classic that has seen many interpretations, even a Mel Brooks spoof, so I wasn’t sure what I was going to expect from this. Them being the same people behind 101 I thought it would have a certain feel and look to it and I wasn’t mistaken. As the doors open two of the characters walk down the stairs and we are let into the studio, people dotted all over the place, one guy chained to the central pillar. One thing for sure is this adaptation is not going to be your typical Transylvanian story, and gone to are the fangs and capes…this is like nothing you have seen before.

All the cast where dressed in white sans one or two of the members. The studio added a very scary and realistic backdrop of the asylum which was well lit and and the atmosphere was high. Tension between the key performers was frantic and mesmerising and was very physical with the patients throwing themselves on te floor with a real force during one such scene I could swear I saw some bruises on one of their backs.

One of the most  frightening and beautiful scenes came when the doomed youth walked up the central mast which was handled with class and provided a sad, scary, and memorable moment, also the song sung by the lost souls is terrifyingly haunting.

‘The cast were amazing in their roles, they where believable and creative giving you a genuine sense of who there where and what they wanted to do. Their adaptation was not cheap and they seemed to refuse to pander to an audience who wanted to see something ‘easy’ and forced you to follow them. This was a great play to watch by a cast who are putting in one of the most dedicated performance of the fringe this year. Stand out and beautifully done.’

C soco (studio 2a) 15-30 Aug at 24:00 (1hr05)
Tickets £8.50-£10.50 / concessions £7.50-£9.50
Recommended age 14+ To book tickets call 0845 260 1234.