Josh Earl and Daniel Tobias – Josh Earl’s Festival

By Colin Flaherty
Josh Earls Fest

Josh Earl’s Festival condenses spending a day at a music festival into an hour using songs, sketches and even interpretive dance. It is at times nostalgic, derisive, kooky and hilarious. All that’s missing is the dirt/mud, sweat and Tinnitus.

Josh Earl and Daniel Tobias (and a mystery guest) do a brilliant job in lampooning all aspects of the music festival experience. From the quirks of the eccentric performers (an indecipherable Dylan-esque song was especially brilliant) to the annoying punters you encounter (I still don’t understand the recent phenomenon of dudes wearing flag capes!) to the frustrating logistics of a large event, all of their targets are hit perfectly.

Structured as a series of vignettes, Earl navigates the site while keeping in contact with his friends by phone. Each call provides a cue for an amusing song involving an act on one of the festival stages. A number of musical genres are sent up including young indie bands in over their heads, anonymous DJs, poorly treated female acts and poe-faced serious artists. All the songs are distinctive Josh Earl songs, even when Tobias is singing, but don’t rely so heavily on the densely spoken lyrics Earl is known for. These tunes aren’t parodies of specific songs instead they make fun of the situations the characters find themselves in using an appropriate musical style and plenty of witty ideas.

Earl plays the downtrodden festival punter perfectly with his beautifully escalating exchanges with characters presented in voiceover. Tobias is always up for dressing up, so he dons many wacky outfits to portray a number of larger than life creations. Josh Earl’s Festival is a brilliant showcase for their years of musical comedy experience and radiant talent.

The audience on this night unfortunately lacked energy for the extravaganza that Josh and Daniel have created. These punters paid attention and laughed at the right places but didn’t really liven up until some Flaming Lips styled audience interaction at the end. This theatrical production put some distance between the characters and the audience even though we could relate to the situations. This was amplified by the polite seated theatre set up, the lack of excessive volume and a noticeably older crowd (possibly some of Josh’s ABC fans).

This is a fun and hilarious piece of theatre about a collective experience which many are nostalgic for or still look forward to every summer, it deserves a big crowd of music comedy fans ready to have a ball. This is one festival within a festival you should attend.

Josh Earl’s Festival is on at Malthouse Theatre (The Tower) until April 23
https://www.comedyfestival.com.au/2017/shows/josh-earl-s-festival-1

Greg Larsen – A Grub In The Muck

By Elyce Phillips
Greg Larsen

Greg Larsen may have top billing on the posters for A Grub In The Muck, but upon entry to the Zeus Room, you discover that A Grub In The Muck is a late night show and Larsen is not in charge. He has cast himself as the sidekick to creepy mannequin host Bruce Mumm, aka Mummy (voiced by Ben Russell), as well as playing the string of guests appearing that night.

There’s a level of desperation in all of the men Larsen plays, from a city council worker to a concerned dad. They’re men in tough situations that stretch their dignity, trying to make the best of it. As people, these characters are often quite unlikeable, but Larsen plays them with enough heart that you do feel for them while they are in the depths of humiliation. Another common thread that runs between the guests of A Grub In The Muck is that they are all utterly ridiculous, and it’s the combination of self-importance and triviality that makes it all so hilarious. One segment, in which Larsen gives a TED talk, had me crying with laughter.

Larsen isn’t afraid to get down amongst the filth for his comedy. While this show isn’t as confrontingly revolting as some of his previous work, it’s certainly an element that remains. Throughout A Grub In The Muck, Larsen struggles with his desire to make political comedy that does some good versus the big laughs he gets from being gross and debasing himself. It’s an interesting tension to discuss, and bringing it up makes the final moments of the show all the more effective. Russell’s voicework as Mummy is also to be commended. His brash, over-the-top confidence is the perfect foil to Larsen’s doormat co-host and works as a physical representation of his baser instincts.

A Grub In The Muck is a fabulous show that perfectly balances the crass and the clever. Larsen might play the sidekick here, but his talent truly shines through.

A Grub In The Muck is on at the Greek Centre, Zeus until April 23
https://www.comedyfestival.com.au/2017/shows/a-grub-in-the-muck

Tom Walker and Bridie Connell – MotherFather

By Elyce Phillips
Tom and Bridie

Tom Walker and Bridie Connell are two of the best-known improvisers in Australia right now, thanks to their roles on the new version of Whose Line Is It Anyway. Connell has proven her talent in the form, being a World Theatresports Finalist. Walker brings a wealth of comedic talent, winning Best Newcomer at last year’s MICF. Together, as MotherFather, they’re a fast-paced improv duo, whipping up quirky characters in outlandish scenarios.

Fans of Whose Line will find themselves surprised by MotherFather. There’s no quick shortform games here, but rather a series of scenes inspired by one word taken from the audience at the start of the show. On the night I attended, my suggestion of ‘caravan’ was taken, and as we were told at the start – if the show goes badly it’s our fault because it’s our word that caused it. Luckily for me, MotherFather’s caravan show was hilarious. What started with a sweet scene about a boy asking a girl to a dance spun out into sketches about detectives and carnivals and singing contests. A recurring scene in which Walker deadpanned a lengthy sales pitch for a Kia Sportage to Connell was an absolute highlight.

Walker and Connell gel together wonderfully as an improv team. They deftly step into each other’s characters mid-scene, as required, and are quickly on-board when one decides to switch into something new. They’re skilled enough that they’re willing to mess with each other occasionally and attempt to crack the other up. It feels like MotherFather sits somewhere between longform and shortform improv. The characters are big and bold and gag-filled, and the scenes are very quick. Walker and Connell will hit a joke and then quit it, and so there’s not as much depth as you might normally see in a longform format. It’s perfect, however, for a late-night show. MotherFather never lets the energy drop and the audience loves every second of it.

MotherFather is some of the most dynamic improv you’ll see this MICF. Walker and Connell are incredibly talented and work together brilliantly. It’s some of the silliest late-night fun you can catch this festival.

MotherFather is on at Melbourne Town Hall Cloak Room until April 22
https://www.comedyfestival.com.au/2017/shows/motherfather

Tom Walker – Bee Boo

By Elyce Phillips
Tom Walker

Last year’s MICF was a huge success for Tom Walker. In addition to winning the Directors’ Choice award as part of Feeble Minds, he took out Best Newcomer for his show Beep Boop. This year, he returns with the similarly named Bee Boo – an intense hour of clever gags, bizarre games and erotic mime.

Where Beep Boop carefully drew in the audience, massaging them into an acceptance of Walker’s clowning antics, Bee Boo is more aggressive in tone. This is reflected in the ‘walkouts’ tally Walker unfurls early on. Adelaide audiences were tough to win over, by the looks of it, but Melbourne fares okay so far. It’s a show where you have to get on-board quickly. When you do, you’re rewarded with an avalanche of hilarious nonsense that’s offset with just a touch of darkness. There appears to be no method to Walker’s madness. The only thread tying any of the segments together is a recurring bit where Walker writes in his diary, having a frank conversation about how he feels the show is going so far.

The best thing about Walker’s comedy is that it is constantly surprising you. He has a knack for taking the everyday and seeing the silly within it. Boring household items are brought to life in unexpected ways. It’s as though everything has been viewed through the eyes of a child, but one that is equal parts gifted and menacing. An early part of the show in which Walker performs “baby tricks” made me collapse into that kind of laughter that goes on a bit too long and you fear you’ll never recover from it.

Bee Boo isn’t a show for the faint of heart, but it’s a wonderfully hilarious hour of absolutely absurd clowning for anyone who loves their comedy weird. Walker’s act has evolved since last year, and he’s created a beautiful monster. He should win some sort of award for his commitment to sight gags alone.

Bee Boo is on at the Victoria Hotel Acacia Room until April 23
https://www.comedyfestival.com.au/2017/shows/tom-walker-bee-boo

POLITICAL ASYLUM LATE NIGHT RIOT

By Angela East Polysy pic

Political Asylum is a comedy night for comedians covering the weightier issues. Hosted by Mathew Kenneally, comedian and lawyer, who along with some other like-minded comedians founded the night in 2009. Matt is a genial host and covers a wide variety of topics in his intro set and in-between guests, from the popular topic of the US president, to marriage equality and how it might affect the over-priced wedding cheeses market.

Toby Halligan is another core member of the Political Asylum team. He compares how things were back when they started nine years ago to now, and how it seems that not much has changed in that time, but reminds us with his funny takes of past presidents and how things have always been terrible.

Sameena Zahra from the UK has hilarious takes on voodoo dolls, the luxury of having bucket lists, and admiration of people’s resilience while being stuck in sniper fire during a visit to family in Kashmir, bringing in some levity.

Australian political comedy stalwart Rod Quantock has given up on everything, it’s all so terrible, and the only reason he’s here tonight, he says, is to keep his run of performing for 31 years at the Melbourne international comedy festival. But luckily he sets the timer and runs us through a very hectic and entertaining history of everything in ten minutes (or so
). As always he is a Political Asylum favourite.

Rod is a hard act to follow, but Jess Moir has amusing jokes likening Trump’s process to choosing cabinet women to witch trials, and fantasy scenarios involving everyone’s favourite president Justin Trudeau.
Canadian comic Mae Martin confidently takes to the stage, and proves popular with the assumptions made about her sexuality when dating, hippy parents, and unusual Christmas wishes.

Alanta Colley delivers a very funny and intelligent set covering Pauline Hanson’s change of mind on vaccinations, and puns on Pauline’s views on Islam, all dealt with a sure wit. Another regular guest Nazeem Hussain gets his laughs from a story about visiting the US just before the elections were held and the interaction he had with a Trump supporter he met at a rally.

Andy Zaltzman headlines and brings the evening to hilarious conclusion with commentary on all manner of topics from his news feed, golfing Trump, global wars, economics, to stranger items like our onion eating ex PM, and the suggestive nature of cucumbers.

There was barely a down moment and it was a surprise to see it had reached 1am when it wrapped up. With the state of the world as it is some the best we can do is take time out to laugh about it. While this was a special one off event at MICF, there’s still a chance to see more at the regular Political Asylum fortnightly show.

Political Asylum Late Night Riot was at the Melbourne Town hall April 8th 

For information about future regular gigs go to their website:

http://www.politicalasylum.com.au/

Aaron Chen – The Infinite Faces of Chenny Baby

By Elyce Phillips
Chenny Baby

Aaron Chen has been coming up in the Australian comedy scene for a while now. He won Class Clowns back in 2012, and last year he picked up a Directors’ Choice award for his work with Feeble Minds. In The Inifinite Faces of Chenny Baby, Chen strikes out on his own and delivers. It’s a wonderfully weird hour of deadpan stand-up that left some audience members helpless with laughter.

The show starts strong with a bizarre karaoke video starring Chen and his co-star Jon Lo. From there, Chen launches into stand-up on all manner of topics, from Kanye West to white people food. Although the show is ostensibly a straight-up stand-up show, there are little touches that make it feel more alternative. Chen’s delivery is deliberately stiff, with a tendency to over-explain and stretch a joke until the tension in the room is at breaking point.

The Infinite Faces of Chenny Baby is billed as Chen’s solo debut at MICF, but it’s more of a two-hander. Sidekick Lo is to the side of the stage throughout, giving Chen someone to bounce off. Their relationship is wooden and a little antagonistic and a lot of fun to watch. Lo performs a few physical gags and they’re some of the highlights of the show.

Chen played up the fact that it was media night, pointing out the benefits of the show to any reviewers in the audience. We’re alerted to the fact that he has a cough and that he has put significant effort into his set design by introducing a pot plant, and both of these things should count for an extra half a star. If we awarded stars, I’d be inclined to add one. It was a nice pot plant.

The Infinite Faces of Chenny Baby is a brilliant not-so-solo debut from Chen. His offbeat brand of comedy might not be for everyone, but he’s a unique voice that’s sure to get stronger.

The Infinite Faces of Chenny Baby is on at the Victoria Hotel Vic’s Bar until April 23
https://www.comedyfestival.com.au/2017/shows/aaron-chen-the-infinite-faces-of-chenny-baby