Category Archives: Stand-Up

Reviews of stand-up acts.

+3 Review: The Glummer Twins (Paradise in The Vault: 22-28 Aug. 11.35am 1h.)

Posted in 3*, Comedy, Just Read The Poems!, Music, Other, Rated: Nae Bad, Spoken Word, Stand-Up by

“The guys are genuinely funny”

Editorial Rating: 3 Stars: Nae Bad

On a small, well-lit stage, deep in subterranean Edinburgh, The Glummer Twins start their set with Just Turned Sixty and Taking it Badly: a really good bemoaning of being the owner of an ageing body.  Through the medium of beat poetry and music, the Glummer Twins (David Harmer and Ray Globe) take a look back to 60’s childhood, 70’s aftershave and 80’s yuppies.  They ask the important question of whatever happen to the mods?  Autobiography is included, such as after moving from south London, the warm welcome David received from his new Doncaster school chums.

The Twins look forward to the future with the poems  Old Bloke Blues and Fiery Jack: the latter a must-hear for any pharmacist or person taking a large range of medications.  Groans and laughs are generated in equally generous measure as we follow the puntastic adventures of poet-noir detective Percy Shelly – private dick.  The poems comes thick and fast, with fifteen being delivered over the hour.

The theme of the show is ageing and reminiscing because there comes a time in life, theirs in particular, that there is a lot to look back on but not so much to look forward too.  The Glummer Twins state they have been coming to the Fringe for thirty one years and obviously love what they do.  The audience are in the safe hands of veterans.  Both were members of the performance group Circus of Poets, which in the 1980s appeared on nation television and toured Europe.

The style of comedy is, fair to say, gentle.  That does not mean unfunny: far from it.  While Percy Shelly is undoubtedly the comedic highlight, the spirit and black humour of South Yorkshire is also evoked.  Whatever will happen to Derek the Trainspotter?  One also has to ask, in the wake of the recent Brexit vote, whether there is deeper meaning to the poems Mediterranean Homesick Blues and Speak Scandi?

Harmer and Globe are good, solid performers who deliver rhymes and laughter.  Globe handles the musical side with electric guitar, pedal beat boxes and shares vocals, while Harmer’s performance is spoken word and costume change.  The show is squarely aimed at older generations.  They know that their style and material are not going to rock the foundations of comedy but that does not matter.  The guys are genuinely funny.  Watching The Glummer Twins is a fine way to wind up a morning on the Fringe.

P.S. – if one wants to know the origins of the name, Google “The Glummer Twins” and see what comes up.

nae bad_blue

Star (blue)Star (blue)Star (blue)

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Reviewer: Martin Veart  (Seen 26 August)

Visit the Assembly Roxy Bedlam Church Hill Theatre Festival Theatre King’s Theatre Other Pleasance, Potterrow & Teviot Summerhall The Lyceum The Stand Traverse archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Guy Masterson: Love and Canine Integration (Assembly Roxy: until 28th Aug: 17.40: 1hr)

Posted in 4*, Assembly Roxy, Comedy, EdFestivals 2016, Spoken Word, Stand-Up by

“Masterson is a great gift to the stage”

Editorial Rating: 4 Stars

When Guy Masterson punched above his weight and married the beautiful Paris-based model Brigitta, he forgot the first rule of life: no person is an island. Brigitta’s personal little slice of Alcatraz comes in the form of her oh-so-cute German Spitz: Nelson. Never in the course of human history has one man fought so hard against one dog for the heart of a beautiful woman.

In this show, Masterston relates the autobiographical story of how first he met his (now) wife Brigitta and her “other man”, Nelson.  Only one of the matches here are made in heaven. Masterson uses the entirety of the small stage to reveal the darkest recesses of this epic battle of wills between man and dog. Plots are hatched. Fantasies are spun. Opportunities taken. It is a sign of character that Nelson is able to rise above these foolish webs laid at his feet by a mere human. Nelson is channelled through his rival, with Masterson performing every snarl, growl and sniff of contempt.  In suitable tones, he explains Nelson’s stratagems: exploring the options that could lead to victory over the new would-be Alpha male.

As an award-winning actor and story teller, Masterson is a great gift to the stage. Extensive experience of one-man shows means that the audience is in the hands of a consummate professional. That is, once the story gets going. I think the preamble, where he explains the genesis of the show, while “enjoying” a cold jacuzzi in a bargain four star spa retreat with his wife, does not work so well. Hearing Masterson relating Brigitta’s question “Why can’t you be more funny?” led me to think, at that time, she may have a point mate. Fortunately once the main course is delivered, it is no dog’s dinner. The story is taut: Masterson’s exasperation palpable as failure is piled upon defeat.

As to the overall effect though, I have to ask the question: is it funny enough?  The material is all there.  The delivery is flawless.  I think the basic issue is that Masterson is an honest man.  This is his first foray into standup and I suspect he has stuck too closely to the truth and, in doing so, has sacrificed some laughs for the sake of integrity.  A more experienced comic may well have hanged truth from the nearest lamppost and had the audience rolling in the aisles.

A certain truth is this: Masterson has a problem. He thinks it is all over but it isn’t. Guy Masterson is suffering from PTPS: post traumatic pet syndrome.

Star (blue)Star (blue)Star (blue)Star (blue)

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Reviewer: Martin Veart (Seen 17th August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Mark Watson – I’m Not Here (Pleasance, Aug 16-21, 23-28 : 21.00 : 1hr)

Posted in 5*, Comedy, EdFestivals 2016, Potterrow & Teviot, Rated: Outstanding, Stand-Up by

https://i0.wp.com/www.edfestmag.com/wp-content/uploads/2016/08/MARKWATSON_GJPR_IMAGE-400x250.jpg

“The definition of five-star comedy”

Editorial Rating: 5 Stars: Outstanding

What is there left to say about Mark Watson? Returning to the Edinburgh Fringe once again, this comedy veteran is ready to prove he’s still got plenty of comedy muscle to flex, even if his ego hasn’t quite caught up with his skill yet.

Lit by the neon glow of his own initials, “I’m Not Here” is a journey through identity, celebrity and self-deprecation, all presented in Watson’s fantastic Bristolian twang. The best part of this performance (well, perhaps apart from the jokes) is the sheer amount of tangents Watson manages to swing down during the course of a single anecdote. He’s the comedy equivalent of a rambling great-uncle, but in the best way possible. Two stories stretched out across an hour, but it was never dragged: various twists of wit far too delicious to spoil what may have been a run-of-the-mill comedy show into an utter experience for all in the room.

And at the centre of it lies Watson himself: a man for whom fame has not come easily nor, often, recognisably. Anecdotes about famous comedian friends abound, but Watson never comes across as bitter. The type of comedy he champions is a razor-walk, but there’s never so much as a faltering step: the energy and emotional charge of his jokes work with almost Olympic precision and speed. Despite his considerable success and talent, Watson has managed to remain the ever-scrappy underdog, bruised by outside forces but never quite blown away – a refreshing contrast to the many Carrs and McIntyres in the comedy industry. The self-deprecating English comedian is a trope by now, but Watson proves he is still the undisputed master of comedic self hatred.

And, of course, this is all wrapped up in fantastic gags. The sheer density of jokes is mind-boggling, especially when none of them feel rushed or wanting for space. Watson is clearly in his element on stage, and his special brand of nervously energetic comedy is just as strong as ever. It’s always a good sign when the man sat beside you must wipe tears of joy from a face which, until Watson came on stage, was akin to a bulldog licking bleach off a thistle.

“I’m Not Here” is one of the biggest comedy events at the Fringe, and it’s well earned. Mark Watson shows once again why he’s arguably the defining personality for his flavour of comedy, without missing a damned step. This is the definition of five-star comedy.

 

outstanding

StarStarStarStarStar

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Reviewer: Jacob Close (Seen 13 Aug)

Visit the  Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Rory O’Keeffe – Monoglot (Pleasance, Aug 16-29 : 16.45 : 1 hr)

Posted in 4*, Comedy, EdFestivals 2016, Pleasance, Potterrow & Teviot, Rated: Outstanding, Stand-Up by

https://laughoutlondon.files.wordpress.com/2016/08/rory-okeeffe.jpg?w=750

 “Monoglot? Perhaps. Monotonous? Certainly not.”

Editorial Rating: 4 Stars Outstanding

Most comedy shows I attend sober don’t begin with a five minute monologue by the empty mic. But then again, Rory O’Keeffe is anything but conventional. Through a tightly packed hour, he mimes, gurns and grins his way through a wonderfully punny routine based on the vagaries of language.

O’Keeffe himself looks like he should be a comedian. His boyish charms and the energy of his movements reinforce his sheer youth, but the confidence and the jokes are of a far higher calibre than one might expect for such a young man. Each ridiculously cartoonish movement was comedically precise and utterly free of inhibition, which cannot be said for many of his compatriots. If nothing else, this show would get a star alone for the sheer fearlessness with which O’Keeffe seeks to make a happy fool of himself. Despite his considerable vocabulary, it appears “inhibition” is one he hasn’t learnt yet.

But, luckily for all of us, his jokes definitely keep up with his own frenetic pace. Make no mistake: this is a downright clever show. As someone who loathes seeing a punchline coming, I might as well have been blindfolded in the dark. From the broad launching point of “language”, O’Keeffe manages to wring out a surprising variety of jokes – and, when I attended, flexed some serious improv muscle when it came to hecklers. Some of the best gags of the show were created on the spot, and it’s a real hallmark of quality on O’Keeffe’s considerable wit.

However, sometimes even the most runaway wit must be reined. A very distinct section which rounded off the show, whilst extremely impressive, wended a little too long, as often did a few of the foreign language jokes. That is not to say that O’Keeffe doesn’t manage to make unknown tongues funny, and far from it – but despite his skill (at least, for a self-professed monoglot) it’s always trumped by his own inventive observations about our shared mother tongue.

As far as hidden gems go, Rory O’Keeffe is a comedy diamond. Tucked away behind labyrinthine Pleasance as he is, he’s worth more than price of admission and job of seeking him out. Monoglot? Perhaps. Monotonous? Certainly not.

 

outstanding

StarStarStarStar

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Reviewer: Jacob Close (Seen 14 Aug)

Visit the Pleasance, Potterrow & Teviot archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Qyeen SweeTs: NorthernXposure (The Stand, 18 – 30 Aug : 22.40 : 1hr)

Posted in 3*, EdFestivals 2015, Stand-Up, The Stand by

“A clever balance between physicality, language and accent”

Editorial Rating: 3 Stars

This show is part stand-up, part forthright declaration about feminism and heritage, and part mish-mash of the two. The comedy sections were generally well delivered and funny, the ranting clear and powerful, if somewhat serious, while all the bits in the middle were neither one nor the other, so it was difficult to know whether I was supposed to be finding them funny or not.

There were elements of the show which were particularly enjoyable, and to me where SweeTs strengths, are in the stylistic imitation of the various characters in her story. In particular “lassie” – the well-spoken lady from London, and her other interrogators on her visit. She used a clever balance between physicality, language and accent to make her characters at once recognisable and human.

Indeed, the parts of the set which focussed on storytelling (tales of her recent trip to London and recounts of her school days) were the easiest parts to follow and interweave jokes and caricatures. SweetYs excels at honing in on key moments and delivering one liners deadpan irony, while her selective repetition of some lines in her stories, each time delivered with a slightly different emphasis to show the thought process were also very amusing. We all know that sometimes if you say something more than once it might make more sense, and this idea SweetYs explores with great success.

What I was most disappointed in and let down by about this show was its climax. When referring to her encounter in London she loudly and proudly declared to her gathered audience that she was indeed the only female African Scottish rapper, and was prepared to do a rap to any beat she was given to prove that yes, she did rap. So that was when the beat kicked in, and I was expecting some lyric spitting of a very high calibre. Unfortunately, what followed was a rather measly few lines as a chorus and a lot of pregnant pauses filled with strutting around the stage and trying to get the audience to clap along.

Like much of the show, I couldn’t tell if this was an ironic moment, or a genuine attempt at rapping. Either way, the impact was lost and this turned into a bit of a downer on what otherwise was quite a promising performance.

Star (blue)Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 18 August)

Visit the The Stand archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

49 Things You Should Know About The Fringe 2015 pt.2 (17-37)

Posted in Features, Previews, Stand-Up, Theatre by

The Edinburgh Fringe is unique. Uniquely big as well as uniquely varied, and therefore uniquely competitive.

52 weeks in a year minus 3 weeks of the Fringe = Edinburgh49

Edinburgh49 is a collaboration between Edinburgh-based writers from some of the most respected Fringe Theatre review titles. Their insights combine detailed local knowledge with a comprehensive Fringe overview.

49 Things You Should Know About The Fringe will help you get the most out of your experience this August. In Part One we examined how shows get noticed and what to do when you are.  In Part 2 we meet the various media titles whose reviewers you’ll be courting.

THE ONE EVENT YOU CANNOT AFFORD TO MISS

  1. ‘Meet the Media’ is organised by the Edinburgh Festival Fringe Society. It’s an event unlike any other where you can spend face-to-face time with media representatives from the various titles. Remember to bring hard copies of your marketing materials and be prepared to queue! Meet the Media 2014: Aug 3: 14:00 (4h): Fringe Central: Free & Non-ticketed.

PULL-OUT QUOTES & STAR RATINGS

  1. The use, usefulness and misuse of star ratings remains a hot discussion topic among producers and pundits. Are stars the best shorthand for what a reviewer thinks, or do they obscure the overall impression? Is a three star show worth seeing? If not why not? Are some titles offering too many stars for too little? How do 5 stars for stand-up equate to 5 stars in traditional theatre?
  1. Include pull-quotes from each review to sit alongside the star rating. Pick quotes that express some insight into your work, rather than just selecting the most favorable single adjectives. If you’re not confident in the number of stars, just include a pull-quote.
  1. Pull-quotes make for reliable daily Twitter content. You should try and draw multiple quotes from one review (so long as you properly reference each).
  1. When tweeting pull-quotes, include the reviewer’s & title’s account to encourage retweets.

TRADITIONAL PRINT MEDIA

  1. Don’t rely too much on the traditional print and broadcast outlets. Budgets are like tyres, if you slash them you won’t get far. The big titles have fewer resources to cover the Fringe than ever. If you concentrate exclusively on household-name brands you may find you end up with no coverage at all.
  1. Not all reviewers are the same. Some are experienced arts writers with production pedigrees of their own, while others are enthusiastic amateurs starting out their careers through practical training schemes. Some are writing for highly commercial operations, others are taking time out from their paid engagements to pursue their passion for the arts.
  1. A good review from The Scotsman remains the most valued endorsement at the Fringe. But with its last reported daily circulation figures dipping below 30,000, you will still need to make a lot of noise in your own marketing to feel the full benefit.
  1. The Herald is dangerously easy to overlook; it’s The Scotsman’s big local rival and an increasingly important voice at the Fringe. Their highly prestigious awards, Herald Angels, are almost unique in the fact that absolutely any show is eligible to win one – but you’re only in with a chance if you manage to get one of their reviewers in.
  1. The Edinburgh Evening News is from the same stable as The Scotsman, but it’s editorially independent. It has a quite different readership too, so it’s well worth approaching both. Controversially, they rate out of 7 stars rather than the conventional 5.
  1. Don’t discount the free paper Metro – it has relatively extensive Fringe coverage and a large circulation. A good review in Metro isn’t (yet) a badge of pride, but we’ve heard anecdotally that it does great things for ticket sales.
  1. UK national newspapers also have a presence in Edinburgh, though they’re not the force they once were. If you manage to get coverage, enjoy your good fortune. The Guardian, Times, Daily Telegraph and Daily Mail are among the most visible, while a review in the Financial Times is one of the most prestigious.
  1. Founded in 2002, Fest Magazine has grown to produce 125,000 free copies in six issues during the Fringe. Published every Tuesday and Friday, including a July preview guide. Fest’s online archive is impressively comprehensive but rather old skool to navigate. Fest is notoriously (and proudly) stingy with its star ratings.

NEW MEDIA

  1. The Festival Media Network strives to improve the coverage of arts festivals and promote collaboration between member media. FMN’s members are Broadway Baby, Edinburgh Nights, Fringe Guru, FringeReview, Hairline and ThreeWeeks.
  1. All Edinburgh Theatre is run by Thom Dibdin, freelance journalist and Scotland Correspondent of The Stage newspaper. The website started out as the Annals of the Edinburgh Stage in 2009, before transforming into All Edinburgh Theatre in 2013.
  1. Broadway Baby has existed since 1996 when it launched as a free resource for actors to publish their CVs. In 2004 publisher Pete Shaw started adding reviews, since when Broadway Baby has become a major new force with over 6,000 reviews published of work staged at Edinburgh, Brighton, New York and London. As well as sourcing articulate and lively writers Broadway Baby copy edits everything that it publishes and boasts cutting-edge behind the scenes IT wizardry.
  1. Edinburgh49 DOES NOT OPERATE DURING THE FRINGE but our writers do. We’ll be back in September committed to supporting punters and producers through the other 49 weeks of the city’s arts calendar.
  1. Edinburgh Nights is a weekly show for Scotland’s Capital City promoting shows, events, and music that will be taking place that weekend across Edinburgh. Rooted in the Fringe the show is available online and as a podcast. Edinburgh Nights is produced and hosted by the BAFTA nominated broadcaster, and occasional Edinburgh49er, Ewan Spence.
  1. Fringe Guru, co-founded by Edinburgh49er Richard Stamp, aims for selective quality coverage, in preference to ‘completism’ or rapid growth. Fringe Guru is about trust over size.  In contrast to most independent media, Fringe Guru’s reviewers are generally professional writers rather than active arts practitioners.
  1. FringeReview, covers Fringe Festivals from Adelaide to Edinburgh and is edited in August by Edinburgh49er Dan Lentell. A passion-project by founder Paul Levy, FringeReview seeks out innovation, challenge, competence and creativity putting an emphasis on supporting producers with peer-review style insight. Billed as ‘The Good Fringe Guide’ FringeReview does not offer star ratings, or publish reviews falling below minimum standards.
  1. ThreeWeeks is the longest established magazine at the Edinburgh Festival. The stable includes not only a free weekly magazine but also a daily update, website and podcast with coverage of all that goes on in Edinburgh during August, including the International, Book, Art and Politics festivals as well as the Fringe. Since 1996 ThreeWeeks has run a media-skills training programme, providing formal on-the-ground arts journalism training to hundreds of young writers.

Coming up in part 3 of our 49 Things You Should Know About The Fringe: The absolutely essential stuff.

49 Things You Should Know About The Fringe 2014 pt.1 (1-16)

Posted in Features, Previews, Stand-Up, Theatre by

The Edinburgh Fringe is unique. Uniquely big as well as uniquely varied, and therefore uniquely competitive.

52 weeks in a year minus 3 weeks of the Fringe = Edinburgh49

Edinburgh49 is a collaboration between Edinburgh-based writers from some of the most respected Fringe Theatre review titles. Their insights combine detailed local knowledge with a comprehensive Fringe overview.

49 Things You Should Know About The Fringe will help you get the most out of your experience this August. In Part One we examine how shows get noticed and what to do when you are.

Introduction

  1. Locals can be slow to embrace the Fringe. They are often annoyed by the crowds and since many of the venues operate under different names during August are sometimes left feeling like tourists in their own city. BUT the Fringe is worth over a quarter of a billion pounds to the Scottish economy annually and brings in £245m to Edinburgh alone.*
  1. AND new year-round venues such as Summerhall (Europe’s largest privately-owned arts centre) and Assembly Roxy (part of the international family of venues) are blurring the lines between August and the rest of the year.

Getting Noticed

  1. Standing out from the crowd is hard. The streets are filled to bursting with the weird and wonderful. Even the brightest and best-conceived attention-grabbing stunt can be drowned out by the background hum of excitement.
  1. That’s why no serious festival goer (producer or punter) should be without the free Festival Fringe Programme, published by the Edinburgh Festival Fringe Society. It’s also available in digital and app formats, but reading the paper copy cover-to-cover is essential if you are going to know what’s happening, what you’d like to see, and what else your potential audiences might also be interested in.
  1. Cross-pollinate your publicity! Ask yourself, ‘What should your audience see after attending your show?’ Contact the other shows’ producers and ask if you can hand flyers to their audiences before or (more usually) after their show is over. Offer them the same.
  1. Punters like to talk with informed and informative promoters. If you have friends or have hired someone to help sell your show, make sure they are as enthused and excited as you are. Have they all seen your show? Why not? It’s so uninspiring to hear, “Would you like to see some comedy tonight? Well, I’ve not seen him myself but I’ve heard he’s really funny.”
  1. Use the VIP lounges. ‘Important person’ is a relative concept but each of the main venues has a lounge where producers and pundits can escape the crowds. You’ll find as much friendly advice, support and sympathy as you will posturing and preening.
  1. The Fringe features live performance from across the genres. Media editors covering the spectrum from stand-up to ballet will develop their own standardised measures for critiquing each piece of work.
  1. Understanding how each title balances its reviews and awards its ratings is essential if you are going to manage your resources effectively.
  1. Some shows come into the Fringe as part of a wider tour. Others make a standing start. Whatever the genre of show, it’s important to demonstrate media interest as soon as it happens. Get stapling! No flyer or poster should be without fresh ratings and reviews.
  1. With the rise of crowdfunding sites such as Kickstarter, more projects than ever are beginning online. How do you stack up against what other producers are already doing? Check out Edinburgh49’s previews of shows coming to Edinburgh using Kickstater and make up your own mind about what does and doesn’t work. Are the producers talking about the work, or are they talking about themselves? Have they explained what they are trying to do? Are you at all interested in what they are doing?

“The essential marketing tactics of the Fringe: online, in print, face to face and (most importantly) word of mouth.”

  1. There is such a thing as bad publicity! If your materials are unengaging, badly formulated, contradictory or plain uninteresting then you might as well not have bothered. You won’t have time to waste. Here, 13 to 16,  are some examples of bad deployments of each essential marketing tactic.
  1. Online. Make sure essential information about times and venues are on your front page. Punters using smartphones with uncertain connectivity don’t want to trawl through your entire online back catalogue of old rehearsal photos before finding what they really want to know.
  1. In print. With so many posters and flyers vying for attention, most will only be glanced at. Final judgements are made in seconds. Your printed materials are your main channel of communication, so keep it clear! Examples: Victorian costume drama = frock coat. Hamlet = skull.
  1. Face to face. Working a line of cricket fans queuing to see the blokes from Test Match Special, explaining to each in turn the background to your biopic about a Hollywood producer from the ‘70s, may keep THEM occupied until doors open, but YOU won’t sell many tickets. Read the schedules. Target the audiences most likely to be interested in your show.
  1. Word of Mouth. There’s no such thing as an empty house. Behind the lighting and sound desk is likely to be a seriously astute critic. Techies talk, so do front of house folk. Engage with them. Get them along and get them on board. When punters ask box office staff for recommendations you want your show to get first mention.

Coming up in part 2 of our 49 Things You Should Know About The Fringe: Meet the media; understanding the different titles, their policies and practices. DON’T FORGET TO CHECK OUT PART 3 LIVE NOW!!!

Hari Sriskantha’s November ’13 Stand-Up Choices

Posted in Previews, Stand-Up by

Hari Sriskantha is an award-winning comedian who (being a full-time physicist) can measure the trajectory of a rising star better than most. In his first contribution to Edinburgh49 he provides his insight into what stand-up acts to look out for during November.

Daniel Sloss: Stand-Up (20:00, 6th November, Pleasance Theatre)

The new, hilarious show from comedy’s internationally acclaimed and award-winning half-man-half-Xbox, direct from his 6th consecutive sold out Edinburgh Fringe and hot on the heels of a massive year of live touring, television appearances and his debut DVD release. Support from Kai Humphries.

Robin Ince: The Importance of Being Interested (20:30, 10th November, The Stand)

Award-winning comedian and science enthusiast Robin Ince follows up his Happiness Through

Science show with a look at his favourite scientists — Charles Darwin and Richard Feynman. Find out why we have eyebrows, why bald dogs have bad teeth, how heavy metal music makes pigs deaf and why spaghetti snaps into four pieces. It is a loving look into the minds of two giants of human imagination who have changed our worldview. A night of spaghetti, barnacles and safe cracking.

The Saturday Show (21:00, 30th November, The Stand)

Five different acts on every bill including our top drawer resident comperes and the best headliners from UK and abroad. And we’re open from 7pm so you can take advantage of our lovely home-cooked food too! With Zoe Lyons, Keith Farnan, Rick Molland, Martin Bearne and host Raymond Mearns.

Grassroots Comedy (20:00, Every Tuesday, Pleasance Cabaret Bar)

Every Tuesday, Grassroots Comedy presents the very best in fresh, local talent as they perform in the famous Pleasance Cabaret Bar. A selection of new acts will entertain you alongside established names who’ll be giving new material a bash. Be part of it now – everyone starts somewhere!

The Improverts (10:30, Every Friday, Bedlam Theatre)

The Improverts is a long-running improvisational comedy troupe, produced by the EUTC. Various improvisation games based on audience suggestions give rise to a hilarious and unique show every time.

Hari Sriskantha is a part-time comedian & writer as well as being a full-time postgraduate physicist studying at the University of Edinburgh. Visit Hari’s homepage here.

Four to Paw: The Stand: October ’13

Posted in Previews, Stand-Up, The Stand by

This October Edinburgh49‘s Four to Paw shows at The Stand are:

Black History Month Benefit (20:00, 6th October, The Stand)

“The Coalition for Race Equality and Equality Rights host another mix of comedy and entertainment from Scotland’s BME community. Stand-up against racism and celebrate Scotland’s Black History Month with the triple whammy of Hari Sriskantha, Katai Kasengele and Wayne Mazadza. Compering will be the irrepressible Susan Morrison.”

Marcel Lucont – Gallic Symbol (20:30, 13th October, The Stand)

“Witty, acerbic, magniloquent Frenchman seeks willing, intelligent audience for fun, adventure, maybe something more. Must have own underwear, socks and breath but be prepared to have these charmed off, laughed off and taken away respectively.

As seen on Russell Howard’s Good News (BBC3), Live at The Electric (BBC3) and Set List (Sky Atlantic).”

Nordoff-Robbins Scotland Comedy Gala 2013 (20:30, 15th October, The Stand)

“Scotland’s only music therapy charity. Our therapists use music to improve the quality of life, communication and wellbeing of people of all ages with a range of conditions from autism and dementia to brain injury and stroke. www.nordoffrobbinsscotland.org.uk

With Raymond Mearns, John Gavin, Ray Bradshaw, Teddy and host Des Clarke.”

Steve Hughes: While It’s Still Legal (20:30, 30th October, The Stand)

“Direct from sell-out shows at the Sydney, Melbourne, Brisbane and New Zealand Comedy Festivals, the sublime Australian comic and ex heavy-metal drummer returns to UK shores to embark upon his second solo tour.

He stormed the UK last year with his sell-out debut tour, with extra dates added due to phenomenal demand. On TV, he’s recently performed stellar sets on Live at the Apollo and Michael McIntyre’s Comedy Roadshow (BBC One), Stand Up For The Week (CH4) & One Night Stand (Dave).

This brand new show features more thoughtful, outspoken social commentary courtesy of a masterful, erudite and provocative performer. Laid-back, effortless charm and caustic anti-establishment humour from a truly unique, world class performer.”

Four to Paw: The Stand: September ’13

Posted in Previews, Stand-Up, The Stand by

This September Edinburgh49‘s Four to Paw shows at The Stand are:

Red Raw (19:30, 2nd, 9th, 16th 23rd & 30th September, The Stand)

“Our long-running weekly beginner’s showcase is regarded as the best open mic night in the UK. Catch up to ten new acts – some treading the boards for the very first time. This is where everyone starts and it’s your chance to see the stars of tomorrow today. Watch out for older hands dropping in to try out new material too.”

With Matt Rudge and host Scott Gibson.

Whose Lunch is it Anyway (13:30, 8th, 15th, 22nd & 29th September, The Stand)

“Our long-running improvised comedy show will have you in stitches. Marvel as resident duo Stu & Garry weave comedy magic from your suggestions. It’s the perfect way to nurse a hangover and a sure-fire way to kick-start your weekend after the big night out. There’s a special menu too so you’ll be in danger of laughing with your mouth full.”

The Sunday Night Laugh-In (19:30, 22nd September, The Stand)

“Round off the weekend with our comedy cocktail which has the emphasis on the chilled and the laid back. At least five acts on each bill ensure variety and its great value at just a fiver. With Chris Conroy, Gareth Mutch and host Ben Verth.”

Best of Scottish Comedy (20:30, 25th September, The Stand)

“Talk about doing what it says on the tin! Here you go a carload of simply the best comics on the contemporary Scottish circuit. At least four acts on every bill with seasoned headliners joining forces with newer kids on the comedy block each month.”