Why you can’t be a comedian and a critic: How I tried and failed to sit on both sides
There is one major dichotomy in showbusiness; one that is so engrained in
its culture and history that if shaken, the whole industry would collapse. I
refer, of course, to the divide between the performers and their critics.
The ongoing battle between the two groups is one I was always aware of, but
had never fully experienced. This, however, changed last month.
Like so many others, I spent August in darkened rooms - emotionally,
physically, and fiscally destroying myself in Edinburgh. While the annual
pilgrimage is a bizarre phenomenon, it is also an inevitable one. It's
guaranteed to bankrupt all the new comedians who take shows there, but it's
the only place where there is any real chance of professional advancement.
While I am like so many other new comedians in that I went to Edinburgh to
performer, I also went as a critic, writing for Scotsgay. Initially, I
thought it would be great; I'd get to see all the shows I wanted for free,
expose the talentless comics, and rub shoulders with my comedy heroes, while
gigging around town myself.
However, reality sunk in as soon as I arrived. On the first night, I saw
Russell Kane's show, Human Dressage, and enjoyed it - I laughed throughout,
and encouraged my friends to go see it. That said, I did find parts of the
show to be weak, and awarded the show a three-star review. I've never liked
the star system; I think it is fundamentally flawed in that no show can be
accurately summarised by five shapes. But that was something I had to deal
with, and so Russell had his three-star review on day one.
I carried on reviewing without deliberating too much on the star system, and
it was not until a few days later that I actually realised the effect
reviewing can have, when Russell approached me in the Pleasance Courtyard to
reprimand me about my comments. While he was just being jovial, and is
clearly thick skinned enough to take a three-star review from a hack
journalist in his stride, the whole incident did shock me into the
realisation that criticism reaches its subject, as well as its audience.
Added to my constant paranoia about bumping into angered comedians was my
guilt about being part of the industry I was criticising. Normally, the
divide between critic and comic is clear-cut; critics say what they want,
and comics get offended and bitch about it - but here, I was both in one,
and what's worse still is that I was proficient at neither. I was slagging
off comedians, while being nowhere near as good as them, and I was doing it
in a hack way. I was the fat guy shouting advice at footballers on TV,
except I had the audacity to do it on the pitch!
Criticism itself is a pointless exercise most of the time. This is clear in
the rise of the celebrity critic. Mark Kermode's film reviews are never
really about the film, and closer to home, Kate Copstick's comedy reviews
are never really about the comedy. The problem with both of these critics,
and many others, is that they have become the attraction, and what they are
reviewing is less relevant, and as such, their journalism has become
sensationalist. Just look at the farce that took place on the eve of the
Fringe with Brian Logan embarrassing both himself and The Guardian by
falsely shaming a group of comics as racist.
My experience as a journalist made me realise just how irrelevant most
reviews are, owing to the highly subjective nature of comedy. There is an
example on the leading comedy website, Chortle, where Steve Bennett gave
William Andrews two stars, citing his off-night as one of the problems with
the show. I saw him on the same night and awarded him four. Neither review
is right or wrong, and for every bad review a comic gets, there is likely to
be a good one to equal it.
While some shows such as Frisky and Mannish's School of Pop, and Richard
Herring's Hitler Moustache take four/five-star reviews across the board, the
more oddball, inaccessible stuff is virtually impossible to reach a
consensus on. It's highly unlikely that Simon Munnery will ever produce a
show that the critics agree on, and this is a good thing, as it gets people
to see shows and make their own minds up. After all, most reviewers are just
bitter that they can't do what their prey can, so they fill column inches
with their two cents worth.
So, why did I accept the press pass and review throughout the festival? I am
attempting a career in comedy myself, and surely this was a major misstep.
It is said that the only thing comedians hate more than successful rival
comedians are critics. But it's done now, and I've offended people way more
talented and successful than me, and no doubt royally shot myself in the
foot. But on the plus side, I do now understand just how meaningless my
opinion is, as well as the opinions of all the other critics, and I did get
to see all the shows I wanted for free.
Posted 15/09/2009 - 10:44
Why you can’t be a comedian and a critic: How I tried and failed to sit on both sides
There is one major dichotomy in showbusiness; one that is so engrained in
its culture and history that if shaken, the whole industry would collapse. I
refer, of course, to the divide between the performers and their critics.
The ongoing battle between the two groups is one I was always aware of, but
had never fully experienced. This, however, changed last month.
Like so many others, I spent August in darkened rooms - emotionally,
physically, and fiscally destroying myself in Edinburgh. While the annual
pilgrimage is a bizarre phenomenon, it is also an inevitable one. It's
guaranteed to bankrupt all the new comedians who take shows there, but it's
the only place where there is any real chance of professional advancement.
While I am like so many other new comedians in that I went to Edinburgh to
performer, I also went as a critic, writing for Scotsgay. Initially, I
thought it would be great; I'd get to see all the shows I wanted for free,
expose the talentless comics, and rub shoulders with my comedy heroes, while
gigging around town myself.
However, reality sunk in as soon as I arrived. On the first night, I saw
Russell Kane's show, Human Dressage, and enjoyed it - I laughed throughout,
and encouraged my friends to go see it. That said, I did find parts of the
show to be weak, and awarded the show a three-star review. I've never liked
the star system; I think it is fundamentally flawed in that no show can be
accurately summarised by five shapes. But that was something I had to deal
with, and so Russell had his three-star review on day one.
I carried on reviewing without deliberating too much on the star system, and
it was not until a few days later that I actually realised the effect
reviewing can have, when Russell approached me in the Pleasance Courtyard to
reprimand me about my comments. While he was just being jovial, and is
clearly thick skinned enough to take a three-star review from a hack
journalist in his stride, the whole incident did shock me into the
realisation that criticism reaches its subject, as well as its audience.
Added to my constant paranoia about bumping into angered comedians was my
guilt about being part of the industry I was criticising. Normally, the
divide between critic and comic is clear-cut; critics say what they want,
and comics get offended and bitch about it - but here, I was both in one,
and what's worse still is that I was proficient at neither. I was slagging
off comedians, while being nowhere near as good as them, and I was doing it
in a hack way. I was the fat guy shouting advice at footballers on TV,
except I had the audacity to do it on the pitch!
Criticism itself is a pointless exercise most of the time. This is clear in
the rise of the celebrity critic. Mark Kermode's film reviews are never
really about the film, and closer to home, Kate Copstick's comedy reviews
are never really about the comedy. The problem with both of these critics,
and many others, is that they have become the attraction, and what they are
reviewing is less relevant, and as such, their journalism has become
sensationalist. Just look at the farce that took place on the eve of the
Fringe with Brian Logan embarrassing both himself and The Guardian by
falsely shaming a group of comics as racist.
My experience as a journalist made me realise just how irrelevant most
reviews are, owing to the highly subjective nature of comedy. There is an
example on the leading comedy website, Chortle, where Steve Bennett gave
William Andrews two stars, citing his off-night as one of the problems with
the show. I saw him on the same night and awarded him four. Neither review
is right or wrong, and for every bad review a comic gets, there is likely to
be a good one to equal it.
While some shows such as Frisky and Mannish's School of Pop, and Richard
Herring's Hitler Moustache take four/five-star reviews across the board, the
more oddball, inaccessible stuff is virtually impossible to reach a
consensus on. It's highly unlikely that Simon Munnery will ever produce a
show that the critics agree on, and this is a good thing, as it gets people
to see shows and make their own minds up. After all, most reviewers are just
bitter that they can't do what their prey can, so they fill column inches
with their two cents worth.
So, why did I accept the press pass and review throughout the festival? I am
attempting a career in comedy myself, and surely this was a major misstep.
It is said that the only thing comedians hate more than successful rival
comedians are critics. But it's done now, and I've offended people way more
talented and successful than me, and no doubt royally shot myself in the
foot. But on the plus side, I do now understand just how meaningless my
opinion is, as well as the opinions of all the other critics, and I did get
to see all the shows I wanted for free.
Posted 15/09/2009 - 10:44
Fringe Update
Hello distant travellers!
It's a rainy cold morning (well, afternoon - but the sleep pattern here doesn't allow for mornings) in Edinburgh, and which is quite fitting as today is my first day off. Having seen over 20 shows in the last week, I'vedecided its catch up time, for me in the constant blur of alcohol and shows, and for you in the constant blur of your own lives.
So, onto Fringe matters; with shows all over Edinburgh, it can be hard to find good stuff, and easy to find the bad. So far, I have felt the sting ofthis with Facebook Fables, a rather glib and irritating play about an obsession with Facebook - it really is as bad as it sounds. There was also Vision, a modern musical retelling of the biblical story of Bernadette and Lourdes, performed by teenagers sermonising how you don't need alcohol to have a good time. Their point, however, was slightly sullied when I saw the cast drinking in the pub a couple of hours after the show. Also worth avoiding is the Scottish Falsetto Sock Puppet Theatre Goes To Hollywood - I don't really think I need to go into that one.
The good stuff so far has outweighed the bad - a thought kept me going through the sock puppets - with Richard Herring's Hitler Moustache show being absolutely superb. Alun Cochrane was also brilliant, as was Jo Caufield - who wonderfully chose me as the whipping boy of the front row. There was a superb improvisational comedy group called The Noise Next Door, and oddball comedian William Andrews put on a brilliant multi-media show which shouldn't be missed.
Aside from the good and bad shows of the Fringe, there is also, of course, the weird.
This year's weird so far has at times been so surreal, I've had to rethink what I'm doing. Such as what I now call the Russell Kane incident; where Russell Kane (whose review I posted last week) approached me to complain about what I said. I didn't know whether I should be star-struck or offended. There was also having a pint with tap-dancing British institution Lionel Blair, which is probably my proudest moment in life so far. Also, The Caravan Gallery was wonderful in its weirdness. A travelling caravan, with a gallery of pictures taken in the town they visit. It makes for a great experience as the locals come in and share stories about the various subjects of the photographs. Jan at the Caravan Gallery also makes a brilliant cup of tea!
So, that's the Fringe so far - next week is looking slightly less busy, so I shall be back on here allowing you to suckle on my teat of Fringe wisdom very soon.
Peace.
x
Posted 14/08/2009 - 12:25
Russell Kane: Human Dressage - Review
The first show of Russell Kane's fringe run kicks off with his trademark energy and flamboyance. It's a winning formula - his over-the-top physicality, combined with self-deprecatory stories - and one which has earned him not only a career in stand-up, but in television. However, his liveliness seems to serve two purposes: to encourage the audience to laugh, and to hide the lesser material. Whilst a joy to watch as he prances around the stage, the stories he tells sometimes suffer from a severe lack of originality: telling jokes about being caught masturbating by a relative get old when most people are twelve. An overlong routine about his right-wing Dad also ends predictably. That said, there is much to like here when you (and Kane) look past the obvious. There are some brilliant gags about how people devote their lives to their image, but he never seems condescending or arrogant about his world view. All in all, Kane's whirlwind delivery brings the audience along, and despite occaisional lapses in material, the laughs keep coming.
6/10
Posted 07/08/2009 - 12:22
Things to watch at the Edinburgh Fringe
So, it's the eve of the Edinburgh Festival and as the fringe programme works its way across the United Kingdom, one question remains unanswered: What should I see? A simple question, but not one so simply answered as the fringe programme tots up 288 pages of show listings. With comedy by far the most vastly represented medium in quantity and varied in quality, it can be a bit overwhelming knowing what to watch. In order to remedy this confusion, here is a brief guide to what you'd be a fool to miss at this year's Edinburgh Festival.
Firstly, Stewart Lee is a must-see. His deadpan style and intellectual material have earned him a loyal fan-base, and deservedly so. His show titled "If You Prefer A Milder Comedian, Please Ask For One" is showing almost every night of the festival at The Stand Comedy Club.
An old friend of Stewart Lee's is the equally unmissable Richard Herring, who, in his show "Hitler Moustache", intends to reclaim the toothbrush moustache from the fascists, to the group of which it belongs - the comedians. Thought-provoking and boundary-pushing comedy at its finest. Herring is on at the Underbelly every night from the 8th.
Another act who mustn't be missed is Simon Amstell, whose ability to make his misery turn into brilliant comedy has allowed him to make the leap from TV presenter to full-time stand up. He tackles taboos such as being a gay Jew without having to adopt a stereotypical persona, and his show "Do Nothing", which is on at The Bongo Club from the 14th August, could be the last chance to see him in a small venue before he makes the big league.
The comedy duo Anna and Katy are also on superb form and are playing at the Pleasance Courtyard. This is sketch comedy of the highest order, with Anna and Katy working together with hilarious chemistry.
Marcus Brigstocke's show "God Collar" is also highly recommended. Brigstocke's angered attacks on right-wing idiocy get the balance of hilarity and polemic just right. This time, he looks at religion and the existence of God. Whilst certainly not new comedy territory, Brigstocke's inventive writing should add a new spin (and vitriol) to the subject. It's showing every night at the Assembly Hall.
The much-less known Sanderson Jones is also one to watch. His show "Another Heartbreaking But Ultimately Life Affirming Show About Death" was well received in Melbourne earlier this year, and Jones - with his autobiographical yet hilarious stories - is set to be a big name in the future. His uniquely inventive style and material make him emblematic of the new direction of Alternative Comedy, and he's all the better for it. You can see him at The GRV every night of the fringe.
Stephen K Amos' show "The Feelgood Factor", at the Pleasance Courtyard every night of the festival, is set to be great. Amos' own experiences of being raised in London as a second generation immigrant have been getting laughs for years. His timing is impeccable and is sure to gain some of the biggest belly laughs of the fringe.
The quite superb Zoe Lyons is also making waves at the moment on the circuit, and rightly so. This loudmouth lesbian is one of the funniest comedians working at the moment, and her show "Miss Machismo", also at the Pleasance Courtyard throughout the fringe, should be a festival highlight.
Reginald D Hunter is also set to shock and amuse this year. His show "The Only Appile in the Garden of Eden and Niggas" is on at the Udderbelly's Pasture every night from the 16th.
Retelling stories from her career at the Daily Mail, Bridget Christie's "My Daily Mail Hell" looks to be a fascinating and hilarious insight into one of Britain's most infamous institutions. Christie will be performing every night at the Gilded Balloon Teviot.
Achieving widespread fame from Friday Night with Jonathan Ross, Four Poofs and a Piano are at the Pleasance Courtyard every night of the festival. Their show, titled "Smoke and Mirrorballs", is set to be a mix of musical mayhem and witty humour.
American stand-up and actress Jeneane Garofalo looks to be one of this year's festival highlights. Her self-depreciative material and her dead-pan manner have gained her widespread acclaim in the States, and this, her self titled show, should seccure her success over here too. She's performing at the Gilded Balloon Teviot every night up to the 15th.
That concludes the list of acts you must not miss at this year's Edinburgh Festival. Stick to it like glue and you can't go wrong. And if for some poor excuse of a reason you can't make this year's Fringe, worry not - I'll be blogging regularly on all the shows, gossips, and nightlife - so stay with me and you'll be fine.
As ever, follow me on twitter for the most up-to-date JoeNews (if you care...): http://www.twitter.com/joe_daniels
Posted 05/08/2009 - 3:42
me, Me, ME!!!
Hello and welcome to my blog.
Here you will find all of my meaningless thoughts in black and white, in a nice easy-to-read typeface, with some meaningful ones thrown in to keep you on edge.
Typically, I'll waffle on about the arts - or less pretentiously: music, books, theatre, and comedy - though sometimes I dabble in things that matter to people other than myself.
If for whatever reason you take issue with me, you can pick my brains at (JavaScript must be enabled to view this email address), or follow me on twitter at http://twitter.com/joe_daniels
Enjoy, and don't judge too harshly.
J
x
Posted 30/07/2009 - 2:01
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