The mirth of mediocrity

Disappointments (Judith Lucy and Denise Scott)

Brisbane Powerhouse, Powerhouse Theatre

July 19 – 30

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Comedians Denise Scott and Judith Lucy are at that age now where they can’t be bothered doing anything, especially if it involves being present and mindful. As such, they are more into lie-down than stand-up comedy, welcoming the audience to “Disappointments” from the comfort of on-stage beds, with oversized wine glasses alongside (thank-you bendy straws).

The mirth that follows allows the pair to reflect on their lives, full as they are of disappointments, focussing on oversharing about the crushing discontent of being of that certain age. No topic is too taboo, especially when they venture out into the nervous audience for ad-libbed chats around arthritis, dick pics and menopause, amongst other topics.

Scott also talks of her days on television’s “Winners and Losers” and gives amusing accounts of being mis-recognised both in Australian and abroad, while Lucy  shares a clever riff about nostalgia, taking particular aim at Rick Springfield’s 80’s hit song ‘Jessie’s Girl’. And then things descend into a volley of insults to each other, before changing into their notorious (and hilarious) nude suits. For all the show’s self-loathing and self-doubt, however, what resonates is its celebration of life (including the saggy bits) and essential ponder as to why we hate ageing but love nostalgia, evidenced as they take aim at the idolisation of youth in our culture.

Comedy doesn’t get much better than these Aussie treasures telling it as it is, bounding off each other and the audience with razor sharp wit. While there is a lot of laugh-out-loud humour, there is also an essential message about embracing life’s disappointments and the distinctions that exist between our social media selves and real life experiences. As such, “Disappointments” will leave you not only face-aching from laughter but fit to fist pump the sky “The Breakfast Club” style, in embrace of your own aging mediocrity.

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Surrealist spirit

Sam Simmons

Brisbane Powerhouse, Powerhouse Theatre

March 24 – 26

Once, a reviewer in Edinburgh noted that Australian comedian Sam Simmons could read the phonebook on stage and still be funny. So in his latest show, “A – K” this is exactly what he does, inset with a whole lot of randomness so cleverly crafted to tie its threads together that audience members remain pretty-much oblivious to their early setup.

As those who have seen him before can attest, when you go to a Sam Simmons show, you really have no idea what you might be in for, but know it will probably be bizarre. Simmons’ own introduction to the show being ‘about badminton with a dystopian future feel’ doesn’t’ reveal much and itself is already quite the contrast to his initial appearance to sing an operatic aria (as soprano due to a soon-explained Hungry Jacks misadventure) dressed in choir gown and neck ruffle.

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This is far from traditional stand-up and what follows is all sorts of offensive as material ranges from porn names to parent’s rooms, Nanna gangs, airport pranks, Cruskits, climate change, Sam’s sexy nemesis dad and nipples (a recurring, key show motif). Nobody is safe as the award-winning veteran of stand-up comedy berates an audience member for not knowing about frûche and gets another on stage to play a bit of badminton … and more. His surrealist humour also sees him having conversations with himself over the phone. Of course, like the rest of the show, they are inappropriate in language and content, but it seems that is how his audience loves it. Indeed his huge popularity seems Simmons in the largest of the Powerhouse theatres for this year’s Comedy Festival, a first in his recent annual appearances.

Despite Simmons’ unpredictability, there is still a relatability to many of the segments. Few can sound as aptly bogan as Simmons in riff on Aldi, Logan and life at the Hyperdome, or Adelaide’s equivalent, Colonnades. And there are also the times when a joke falls flat and he berates the ‘not so special’ Sunday night audience for making it akin to performing in a fridge. There is substance behind the absurdity too; the show is loosely based around the forever responsibility he feels about being a new father (Seven years after meeting his wife in a carpark, they now have a baby girl). And who knew he is a feminist?

Certainly a Simmons show is not to everyone’s tastes. His spirited, surrealist comedy is, in itself, uncertain in its unconventionality, however, his ability to respond to each individual crowd’s energy and the deceptive craftedness of his shows make him a performer to see. Besides, he’s got to be better than those Simmons-identified self-righteous comedians like that Tom Ballard bloke.

Fine funny times

I’m Fine (Rhys Nicholson)

Brisbane Powerhouse, Turbine Studio

February 28 – March 5

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When he appears at the Brisbane Comedy Festival, Rhys Nicholson is as debonair as ever, in contrast to the not-so glamorous life of touring on the standup comedy circuit… especially in places like Tasmania, he tells the audience.

Like previous shows and indeed perhaps all quality comedy, Nicholson’s latest show “I’m Fine” is anchored by its personal subject matter (‘you’ve got to write what you know’ he emphasises) including share of his fear of dancing and tell of what his ghost story would be. From tales of the transitions into adult life, the changes that come with couple cohabitation and expose of whether health really equals happiness, Nicholson takes audiences to some unexpected and often inappropriate places. There is only touch on the political with talk of white guilt and marriage equality. Self-deprecation features as a central focus in his recall of at-school stories of initial unpopularity and later promiscuity.

While Ivan Milat backpacker jokes ensure that it is certainly not for the easily-offended, “I’m Fine” is full of entertaining anecdotes and many very funny moments as evidence of Nicholson’s charisma as a performer.

Entitled entertainment

Botox Party (First World White Girls)

Brisbane Powerhouse, Rooftop Terrace

March 7 – 12

When as part of his Brisbane Comedy Festival show comedian Rhys Nicholson made an Ivan Milat joke, it was to the gasps of some the audience in ‘oh no he didn’t’ shock. But that was nothing compared to First World’s White Girls’ song about accidentally hooking up with Gabel Toste (#toosoon?). Clever though the song is, however, it is not even the most memorable part of Judy Hainsworth’s and Meggan Hickey’s show, “Botox Party”, which is filled with up-to-date references, including a catchy song and dance routine for current newly elected President Trump, simply titled ‘Donald’.

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The show’s songs all showcase some incredibly cleverly writing in their highlight of social issues and resulting social commentary. With light-hearted approach “Botox Party” balances topics such as climate change and Tinder misadventure, with labiaplasty and accessories. Laughs abound due to its politically incorrectness, relevant satire and cascade of comic moments. Add a touch of physical comedy and the celebration of self-privileged ego, written by Hainsworth, is nothing short of excellent.

Equipped with their at-hand Norwegian waters, trust fund princess Tiffany (Hainsworth) and Noosa’s own Maddison (Hickey), with help from Miguel from Mexico as accompanist (Max Radvan), are endearing in their narcissism and very, very funny… because sometimes the best comedy comes from being able to say things that you couldn’t otherwise. And clearly, people are letting their guards done as audience members themselves stand up and share their own first world problems about flight delays and downgrades, and missing “Married at First Sight.”

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From the gentle strains of ‘Celebrity Died Today’ to the revealing final ‘Window Pane’ expose of the secret to a best-selling song, each song has its own unique and catchy melody and it is wonderful to see ‘Little Black Babies’ making a reprise from previous outings. Hainsworth and Hickey both showcase excellent vocals in their delivery whether together or in their solo numbers. Hickey’s “Snowflake” which comes complete with tap-dancing, trumpet playing and piano playing is hilarious in its steal of Tiffany’s limelight. And Hainsworth’s ‘Memory’ lament of pre-middle-aged late night partying and carb indulgence is perfect for share of some commanding vocals.

Even the most time-poor of everyday boring people need to find time for the gospel according to the entitled First World White Girls. And you don’t have to live by the bible of WWKKD (what Would Kim Kardashian do), accessories your active wear or carry around a cute extra-wrinkly dog as testament to your taste, to appreciate its laugh-out-loud comedy. “Botox Party” is about more than freezing your face; with its abundance of balloons, comically oversized syringes and pom poms, it is all about fun, fun, fun, fun.

Swivel surprises

Dad. Joke. (Mark Swivel)

Judith Wright Centre, Shopfront

February 16 – 17

Surprisingly perhaps, comedian Mark Swivel’s “Dad. Joke.” contains only one deliberate dad joke, which might be a good thing for those who don’t particularly enjoy hearing the typically unfunny, corny offerings that this type of humour entails when usually displayed as part of special occasion speeches. Surprisingly too, is the substance behind the show’s ‘evidence-based musings’.

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Things are centred on a practical premise; Swivel is seeking advice in construction of a 21st birthday speech to his son. Gems of (mis)information follow as he not only reflects on life as a parent but memories of his own childhood experience. From politics to punctuation, pools and penis pumps, no topic is too random as he crafts together a very funny, but also surprisingly quite poignant show in its reflection of the nothingness moment of parenthood now passed.

Its appeal is not just for parents (conscious or otherwise) but anyone of that particularly generation who can recall waiting on lounge room beanbags for the Sunday night “Countdown” top ten or who can reflect amusingly on the idiosyncrasies of their own parents and upbringing or increasingly see their parents in themselves with every morning bathroom mirror look.

“Dad. Joke.” is a good-natured show of engaging anecdotes from an easy-to-listen-to presenter. Indeed, its relaxed pacing is refreshing as it takes audiences to the punchlines rather than rushing them in their faces. And while there is some limited audience interaction, if it is amiable and non-confrontation, meaning that even in the usual comedy front row centre danger seats, audience members can relax into the show’s surprising stories and the good time that ensues.

People paranoia and plenty of laughs

Not a People Person (Sam Simmons)

Brisbane Powerhouse, Performance Lawn

March 15 – 20

When Sam Simmons, dressed in a karategi, places cinnamon doughnuts on the heads of audience members, using a taxidermied kangaroo paw, it could be regarded as a random show opener. But not for those familiar with Simmons’ hyper-absurdist brand of comedy styling.

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The self-confessed coriander of comedy is certainly not to everyone’s taste. Indeed, he is, as the show’s title makes clear, not a people person. He’s socially paranoid and loves animals (before comedy he worked at Melbourne Zoo); he hates hipsters and believes that we all have avian tendencies. To illustrate the point, he includes some animal impersonations, from seagull to bald eagle, relishing the chance to show off his underwear-clad dad-bod. Add in some on-point characterisations, discussions of Rob Brough and Colonel Sanders, and the most memorable of yum cha philosophies (the show is full of big questions) and it is all quite bonkers … but only in the bestest of ways, from its physical, prop-based comedy to hilarious dialogue interaction with audio montages. And when the madcap crescendos to conclusion of his unsteadily roller skating across the prop-filled stage, complete with lit candles, you cannot help but want the unconventional laughs to go on.

As Simmons’ previous Brisbane Comedy Festival incantations “Death of a Sails-man” and “Spaghetti for Breakfast” have shown, a night out with Sam Simmons is as about as far from orthodox observational/anecdotal comedy as you can get. If you are keen for daring comedy that defies conventional classification, then make sure you catch “Not a People Person” while you can. The spacious Powerhouse Lawn performance tent may have no floor, be freezing cold and see audiences packed on top of each other, but it is definitely the place to be in the final week of the 2016 Brisbane Comedy Festival.

20 years of Tripod treats

101 Songs (Tripod)

Brisbane Powerhouse, Powerhouse Theatre

March 8 – 13

Musical comedy trio Tripod are now veterans of the Australian comedy scene and, in celebration of their 20th anniversary they are back with a new show, “101 Hits”. It is a bingo themed birthday party as numbers are drawn from ‘one of those binger spinner barrel things’ to determine which of their tracks are to be performed. And they have got heaps of hits from which to draw – 101 in fact (hence the title of both the show and their actual songbook ‘Tripod: 101 Hits songbook), even if they can usually only recall about 75 at any one time.

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On opening night at the Brisbane Comedy Festival the set list includes numbers as diverse as ‘Visor King’ and ‘I Always Get Into Things’ with song styles ranging from the contemplative to the upbeat. Even numbers from their “This Gaming Life” show with the Melbourne Symphony Orchestra make appearance… although they require some audience imagination for full musical appreciation. But if your favourite is not drawn out, rest assured there is always chance to make it known during the quick fire final requests segment of the show.

The original songs and harmonies are strung together by comic banter, which is from where a lot of the funniest moments emerge, with observations of ‘The Muppets’ band and ‘Downton Abbey’ taking the show to some strange and unexpected places. Without instrument, Yon (Simon Hall) is able to move about the space with more ease, conveying an infectious manic energy as he engages with fellow members Gatesy (Steven Gates) and Scod (Scott Edgar) and, as a result, the hour long show flies by.

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When Gatesy declares the show to be “unreviewable”, he is not too wrong. After all, how can a show that changes each night ever really be reviewed, except to say that whatever the ingredients of each particular night, the result is sure to be a feast of funny, especially if fulfilled requests include classics like ‘Dilf’ and ‘The Hot Dog Man’. For fans of the group, “101 Hits” offers opportunity to randomly revisit many an old favourite song, while for first-timers, the show’s eclectic nature gives change to dip into the sometimes murky musical waters of songs of strange but hilarious stories and observations … and even some antics of the suitcase sort as an added treat.

Photos c/o – https://www.facebook.com/tripodactual/photos