BBC Three Comedy Marathon

At the Edinburgh Fringe 2012

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Nina Conti: Talk To The Hand
Live Review

This show is a tour de force, a phenomenal performance. I’m happy to become a paid-up member of the Nina Conti fan club after this. 

Starting in conversation with her original character, Monkey, Conti addresses the prejudice that vent acts attract for being naff, old hat, cruise ship entertainment. Collapsing in girlish laughter at Monk’s misanthropic, bilious utterances, she (I want to say ‘they’) keeps reminding the audience that she is speaking for both of them and that she does know what’s coming next but is disingenuously pretending not  to. 

The skill is not simply the vocal gymnastics but the manipulation of the puppet, so you absolutely do credit that it’s a listening and responsive being, even while you’re being reminded that it’s eyes are marbles. So far so good, but I was never a fan of Monk.  But  now there are new characters, the introduction of Leonard The Owl, whose lovely contralto voice and old-fashioned diction makes for an engaging, teacherly figure. 

The show really begins to let rip with Conti’s Scottish Granny.  The puppet is utterly  compelling, a human figure with sweet voice and fully rounded personality. Of course the rubber features are exaggerated – it would be disturbing to have something more realistic – but this is so skilfully performed that a believable warm relationship unfolds on the stage. It’s an extraordinary achievement. 

Here Conti also introduces a chat show element, tonight’s guest being magician and stand-up Ali Cook. Granny and Conti are such enthusiastic interlocutors, they can only be a few phone-calls away from hosting on a morning television sofa.  Even Cook, who must know the tricks of the trade and misdirection  was drawn in to talking to Granny rather than her operator. 

  Just when you think she can’t top this, another character, Lydia a ballsy New York woman is introduced and stone me if they don’t invite the audience to suggest accents for a  new voice for Lydia, and yes of course it’s a raging success as they slide between South African, French, Italian, Chinese and more.   There’s a terrifying bit of audience participation (if you’re the subject) but marvellous to watch someone given a vocal makeover and be coerced into dancing.  And this volunteer actually could actually dance, momentarily throwing Conti as he swung her in an accomplished tango dip.

As if you haven’t been entertained enough already, the lovely Granny is brought back to give Conti a chance to display her virtuoso ability further still. Granny and Lydia really are very liberating devices for Conti to use; when you’ve already suspended disbelief enough to accept ventriloquism, not having to go the extra mile and believe in talking animals and birds really helps. She is frighteningly talented, the show is hugely enjoyable and won me over completely.

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Her on QI? Maybe the most unfunny, annoying thing ever. Utter sh!t

Marcus, January 2012

Saw Nina recently at the Union Chapel with Stewart Lee headlining. She's vaguely amusing, but no more than that-got some gentle laughs but that was it I'm afraid, easily the weakest act of the night.

Ted, June 2011

I love Nina far too much. She has taken ventriloqism and revamped it for a new generation. The way she deconstructs her act is brilliant and in each new show I have seen her in she challenges herself to go further. The funniest woman in Britain today? She's up there.

Rich, August 2010

We just finished watching Nina's act on Just for Laughs and I think this absolutely brilliant! This is the most original and creative act I have ever seen and I don't think it would matter if she were a terrible ventriloquist (which I don't think she is) but the act would still be amazing because it actually makes you think. Thank you Nina for thinking outside the box... or puppet...

april, August 2007

I'm a comic from America. I just worked with Nina at Glastonbury and she blew me away. More important she blew the audience away. She spends ten minutes degrading the monkey (anyone who is silly enough to comment on the monkey not being a real Vent doll cares a little too much about ventriloquism and not enough about comedy, showmanship, or great writing) then switched status in an obvious but brilliant way. By the end of her set the monkey was defiling her on stage and the audience was screaming. I don't mean that metaphorically. I mean five thousand people screaming. No one else got a response like that. Don't get me wrong... there were some fantastic comics on that stage but no one had the visceral effect on the crowd that Nina did. There is just something intrinsicly funny about a sweet princess of a girl getting plushy-hypno-raped by a foul mouthed demon monkey doll. But I'm American... what do I know about comedy.

Unkle Paul, August 2007

How did she get such acclaim? She's a terrible vent act. Paul Zerdin rocks, miles better and original. The monkey isn't even a true vent doll, it looks like something you buy a kid at Butlins.

Lee Hathaway, March 2007

I just saw her on Just for Laughs and she is hands down one of the funniest people I've seen on the show let alone one of the funniest vents I've ever seen

Kyle Voltti, July 2006

Bottom line: Nina is witty, amusing, talented, attractive and very creative.

Frank Gerber, June 2006

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