Rhys Nicholson – Eurgh

By Alanta Colley 

Rhys Nicholson is set to make an impression. With razor sharp cheekbones under a bright red quiff, thick rimmed glassless glasses and elegant dining attire one does not expect a shrinking violet, and that is exactly what one doesn’t get.

Rhys emerges on stage in a flurry of masturbatory simulation, instantly articulating the tone of the show. Filth comedy is interspersed with personal thoughts on porn, atheism, blasphemy, the relationship with his boyfriend, the odd personal anecdote and a reflection on power dynamics in society. Nicholson’s delivery is dry, acerbic, and anti-establishment. Delivered in a droll fashion with a smile not once crossing his lips, this show is not for the faint of heart.

It’s important for a comedian to find their audience. On this particular night, Nicholson’s audience contained several elderly couples on their one night out for the week to experience as they audibly termed it ‘culture’, who had probably mistaken Nicholson’s debonair appearance as some sort of indication of a Sinatra-esque night of cocktail comedy.  Their shoddy heckles interspersed with stony silence were handled deftly by Nicholson, although there was a palpable feeling of regret in the room indicating that these people just weren’t meant to spend an hour together. Nicholson’s bio in the Fringe guide gave no indication that anal sex and fisting would be frequent features of his prose.  Nicholson definitely has an audience out there, and this wasn’t it.

Maybe this disparity sucked the energy out of the room; however Nicholson’s tales lacked a convincing through-line, matching book ends, nor the punch the edgier material was no doubt meant to elicit. The ending was unconvincing in its climax. While there are some genuinely original and amusing reflections in this hour of Eurgh, it never became clear exactly what this show was about, or why.

If you like your comedy risqué and rather raw, you and Nicholson are going to get on fine.

Rhys Nicholson – Eurgh is on until March 1 at The Rhino Room

http://www.adelaidefringe.com.au/fringetix/rhys-nicholson-eurgh/4981aa0f-814f-4c0b-bd61-820404763c02

Shows at Adelaide Fringe Festival previously reviewed by Squirrel Comedy.

The Adelaide Fringe is soon upon us, it’s a fabulously varied festival with a big comedy contingent that gives punters a chance to catch up with shows from last year’s festivals as well as discovering exciting brand new work, some of which will make it’s way to other capital cities throughout the year.

This year we hope to bring you some reviews in the early part of the Festival. Meanwhile here are some reviews we prepared earlier.

Eurodad – Adam Rozenbachs 
Palace Nova – Cinema 9

https://www.squirrelcomedy.com/?p=3597

Luke McGregor – My Soulmate is Out of My League
Garden of Unearthly Delights – The Spare Room

https://www.squirrelcomedy.com/?p=3389

NOB HAPPY SOCK – Simon Keck
The Producers Bar

https://www.squirrelcomedy.com/?p=3550

Radio Variety Hour
The Producers Bar

https://www.squirrelcomedy.com/?p=5089

Rom Com Con – Mace & Burton
Bakehouse Theatre – Main Stage

https://www.squirrelcomedy.com/?p=1871

Simon Taylor – Funny
Garden of Unearthly Delights – The Spare Room

https://www.squirrelcomedy.com/?p=5024

The Last Temptation of Randy
Garden of Unearthly Delights – Le Cascadeur

https://www.squirrelcomedy.com/?p=5071

Wolf Creek The Musical
The Producers Bar

https://www.squirrelcomedy.com/?p=5049

Wizard Sandwiches: The Last Lunch
Tuxedo Cat @ Raj House – Room 2

https://www.squirrelcomedy.com/?p=5004

The above shows were all very popular and are highly recommended by us, some are even award winners.

The Adelaide Fringe Festival is on from the 14th of February til the 16th of March. All  information can be found at their website

http://www.adelaidefringe.com.au/

Tim Ferguson – Carry A Big Stick : A Funny, Fearless Life of Friendship, Laughter and MS.

By Colin Flaherty

Set out like a four act play (fitting in perfectly with his current career as lecturer in narrative comedy) Tim Ferguson’s autobiography covered his life in great detail. The first act covered his family background, the constant relocations and troublesome school life which went a long way in explaining his knack for comedy and its use as a defence mechanism. The larger than life characters in his family were lovingly sketched out for us through many amusing tales so that we grew to know them rather intimately as the book progressed.

Act two is where Tim began his life as a performer with his time in the Doug Anthony All Stars making up the bulk of his tale. Both on stage and off, it was quite a wild ride and reveals some amazing anecdotes. There are stories dispelling some misconceptions about their work which may be new to hardcore fans of The Dougs and his recollections of their material could possibly paint the group’s output in a different light for many. At numerous times the signs of MS rears its head, quite obvious warnings with the benefit of hindsight, but his strong work ethic forced the show to go on.

Ferguson’s post DAAS endeavours were covered next. After the juggernaut that was The Allstars, it’s easy to forget that Tim was just as busy during this time both in front of the camera and behind. The stories about the unsuccessful TV pilots developed by Tim and his associates were just as fascinating as the tales from his more well known work at the time including “Don’t Forget Your Toothbrush”, “Funky Squad”, “Unreal TV” and “Shock Jock”.

The way he finally went public about his MS and his change of career to focus on lecturing rounded out the book. He doesn’t pretend to offer advice to fellow sufferers; in fact he described it as an inconvenience rather than an affliction; but still relayed a positive message as he developed as a person and contributed to society in many ways he couldn’t have foreseen.

Through it all he downplayed his contributions, regularly heaping praise upon those around him. This allowed him to insert some amusing self-deprecation (often with the phrase ‘I’m not smart, I just sound smart’) but his brilliant colourful way with words contradicts this naivety at times. Following his own teachings, Tim wasn’t afraid to tell some tragic tales from his life to contrast against the general levity of his writing. Plenty of witty asides, self-depreciation and amusingly worded descriptions keep the mood light. Cheekily manipulating the reader, he alluded to some juicy details that he ultimately kept to himself. This interesting portrait of a man with many stories to tell was a joy to read.

Carry A Big Stick is published by Hachette Australia.

The Big HOO-HAA! – 24 Hour HOO-HAA!

By Elyce Phillips 

It’s 6am at Czech House.  Six bleary-eyed improvisers are up on stage, looking for suggestions from an equally bleary-eyed audience. Many have fallen, some have only just begun and there are still 14 hours to go.

For this year’s Fringe, The Big HOO-HAA! threw all their comedic eggs into one proverbial basket and put on a 24 hour show. It’s something we’ve seen at festivals in the past. The 24 hour show has become something like an extreme sport in the comedy world – and the HOO-HAA team’s performance was up there with the greatest of endurance athletes.

Team members of the Hearts and the Bones rotated through the night in hourly blocks, with ten minute breaks in between. For every hour you stayed, you got a dollar back from the $24 ticket price – a moment heralded on the hour with the jingling of a bowl of gold coins and a burst of an on-theme tune like ‘Gold Digger’.

The event began with HOO-HAA’s usual two hour program, with Liam Ryan on hosting duties. Ryan was an absolute stand-out through the 24 hours, somehow remaining incredibly witty right to the end. The man is an absolute natural as a host.

From there, the show took a step into different territory, changing up the theme with each hour-long block. At 10pm, there were games based on stories told by Nova’s Deano. At 12pm, an improvised musical.

At 3am, we hit Danger Hour and things started to get a bit weird. HOO-HAA’s usual games were beefed up with a series of increasingly painful punishments. We saw a strip edition of Doo Doo Ron Ron. The poor players who found themselves Desperate and Dateless (Ryan and Michelle Nussey) had pegs clipped to their bodies every time they made an incorrect guess. There was even a moment of genuine danger as Scott McAteer slightly choked on an unreasonable amount of bread in a game called Carbo Loading.

In the next couple of hours, the weirdness continued. We had Free Love at 4pm, in which team members paired up and did whatever they wanted for 15 minutes, resulting in an extremely complicated piece by Matt Saraceni and Wyatt Nixon-Lloyd about the invention of closed captioning. Then it was a mega round of My Game, My Game, where we saw such gems as ‘Multi-Cluedo’, ‘DolphinHospital’ and ‘It’s Banjo Patterson’s Birthday!’.

By 6pm, brains were beginning to break. I think everyone’s mindset was best summed up by Saraceni during a game of 181, in which the players had to come up with one-liner beginning “181 somethings walk into a bar.” On the theme of spiders, Saraceni stepped forward and said, “Let me give you a little insight into how things are inside my head. 181 spiders walk into a bar. Something about a web?” With many in the audience just as sleep-deprived as the players, that simple statement was perhaps the funniest moment of the hour. We were all suffering together.

How they managed to get through the whole 24 hours, I have no idea. The sleep deprivation was enough of a challenge for those of us in the audience. In the end, only four audience members stuck it out for the full 24 hours, but many more popped in and out over the duration.

It’s an absolute testament to the skills of the HOO-HAA! team that they created an experience that was genuinely hilarious for the full 24 hours. There’s no sense in pointing out the stars in the group – they were all fabulous. Go and see them in action for yourself, perhaps at their saner two-hour show.

The Big HOO-HAA! Perform every Thursday at 8pm at The Portland Hotel.

http://www.hoohaamelbourne.com.au/

Marcus and Dan’s Award Winning Show

By Colin Flaherty

With its cheeky title, the advertising blurb of Marcus and Dan’s Award Winning Show didn’t give too much away but dropped extremely subtle hints as to what to expect. Joining Daniel Pavatich and Marcus Willis on stage were seven other performers and together they set out to improvise an entire movie based on an audience suggested title.

On the night I attended the film was “Three Men Flying” which resulted in a rollicking air force drama set during the cold war era. With a nod to many well-known movies, most notably Top Gun, we saw the interconnected stories of a seriously determined boy with dreams of flying, a pilot with no respect for the rules and a nervous wreck of a co-pilot, and their part in stopping a soviet plane loaded with nukes. Plenty of recognizable movie tropes and clichĂ©s were used in the telling of the story; a training montage, a kid out to avenge his father’s death, a cannon fodder character and many, many more.

The way that the show was structured was different to most long form improvised shows in that the character performers weren’t necessarily in control of the story most of the time. Just like a film written by committee everyone not acting in the scene contributed narration, prop and costume description, camera shots (close ups required the subject to approach the front of the stage) and lots of plot twists. At times it was like those not in the scene tried to throw in as many ideas as possible to see what would stick. The result was some very frenetic on stage action with people buzzing around the characters filling in the details with wild gesturing.

An interesting addition was a kind of Director’s commentary where “writer” Pavatich would be called upon to explain a plot point. This tested his quick thinking and produced some laughs but his general response was to comically dismiss the point as being beyond his knowledge rather than make up some outrageous statements to add to the lunacy.
Being the last show of the night at the venue, the team weren’t restricted to squeezing all the action into an hour so no one was really keeping an eye on the clock. There was the danger that they were digging too deep a hole and wouldn’t be able to wrap things up, but somehow gave a satisfying conclusion. The movie approached a feature length of about ninety minutes which fit the concept but was possibly a tad too long. Such is unpredictable beast that is improvised theatre.

The large cast all worked very well together and kept the show moving at a cracking pace. There didn’t seem to be too many toes stepped upon with everyone willing to go with any new direction the movie took off in. This team of quick wits came up with many hilarious lines and scenarios that kept the audience in stitches. It was a hoot.

Marcus and Dan’s Award Winning Show is on at Gertrude’s Brown Couch until October 6
http://www.melbournefringe.com.au/fringe-festival/show/marcus-and-dan-s-award-winning-show/

String Theory – Andy Matthews

By Lisa Clark

Andy Matthews is a charming performer with a clever mind and a sharp, perverse wit. Originally from Tasmania he has been performing in Melbourne for only a few years and his stand up is nerdy, impressive and his own. After doing shared festivals in the past, this is his first solo festival show. String Theory is a striking showcase for his writing and storytelling skills.

As we enter the small rather packed Loft, Andy is engaging us in some lightly awkward small talk. He explains that there is no backstage for him to hide in and pop out from. It’s actually a good little space for this intimate performance but it does get rather hot, so you might want to dress lightly. His introduction is a warm, inviting one, but it comes with a warning. “Pay attention”. This is not a laid back romp, it’s time to switch on your brains and keep up. We are also introduced to his brother George on the synth who noodles away on his instrument throughout and gives a lovely “Look Around You” early 80’s science documentary feel to the show, particularly to the String Theory segments that ‘tie it all together’.

String Theory is the sort of phrase that keeps coming up on Big Bang Theory and might have piqued your curiosity about what it’s about, well maybe you should be going to a science lecture rather than a comedy show. Apparently Andy Matthews was inspired to do this show after being disappointed by the film ‘Cloud Atlas’. I’ve not seen it but I don’t expect that would change the way you experience Andy’s show which is basically a string of absurd stories strung together by some string theories of Andy’s.

The stories are all bizarre, surprising and densely written. They are often told as if read from a primary source. My favourites are logs from some of explorer Matthew Flinder’s lesser known anachronistic travels , a story told through letters of complaint and a Ballad of Michael Burt, in which a farmer becomes an unexpected hero. The laughs at the beginning, for Flinder’s story were loud and constant, but as the show went on it petered out somewhat and the room became pretty quiet. The stories were all entertaining but they were so densely written and jokes piled on top of each other so that they were hard to catch and left little space to laugh, less you miss more of the story. The stuffy room did not help.

The humour in this show is poetic and literary and would suit fans of absurdest writers such as Lewis Carroll. It is laugh out loud at times and amusing, but more of a spoken word comedic essay rather than a standup comedy performance. With more experience, Andy could work on perfecting his delivery, so that his stories flow better and work better as a performance. At the moment, you can hear that the stories are well written but they are a bit heavy going as a long form performance piece for a comedy audience. Worth a go if you are an adventurous fan of the Absurd.

Andy Matthew’s String Theory is on at Fringe Hub – Son of Loft

http://www.melbournefringe.com.au/fringe-festival/show/string-theory/