Vegan Song

As Loretta Maine

More Pippa Evans videos

Pippa Evans studied drama and theatre arts at Birmingham university, before turning to stand-up and improv. She was chosen by the Pleasance Edinburgh to perform in The 2006 Comedy Reserve, was runner-up in the 2008 Hackney Empire new act final, and a finalist in Funny Women the same year. She has been a regular improv performer with Improvedy and The Scratch Players.

She made her Edinburgh debut in 2008 with Pippa Evans And Other Lonely People, which was nominated for the if.comedy best newcomer prize.

Musical Comedy Awards final 2010
Live Review
Charing Cross Theatre

The Musical Comedy Awards are a great idea, my fellow judge and the night’s warm-up man Earl Okin says, as such acts rarely get to experience each other’s work. After all, it’s almost unheard of to find two music acts on the same bill.

But then having ten in a row – a mixture of competition finalists and showcased acts – means format fatigue is inevitable, now matter how diverse the styles. There is, perhaps, good reason why musical acts are usually so carefully rationed.

There’s no doubting organiser Ed Chappel’s enthusiasm for the genre, even though he makes for an ill-at-ease, overtly luvvie host of his own event in the New Players Theatre. Nerves get the better of him, and his lack of confidence manifests itself in a strained comedy voice that puts you in mind of the Muppets. But next to Chappel, Fozzy Bear is a relaxed natural. Meanwhile, his own contributions to musical comedy which punctuate the night are strangely mirth-free offerings, awkwardly twee, with muddled, unfunny lyrics and an unconvincing delivery.

Opening act Pippa Evans shows how it should be done, in the guise of her deliciously embittered singer-songwriter Loretta Maine. Her psychotic songs of obsession and doomed love – many from her wonderfully titled, if so far fictitious, album I’m Not Drunk, I Just Need To Talk To You – contain more bloodshed than Tarantino’s back catalogue, which would become something of a theme of the night. Seems like comedy songwriters are inevitably drawn to write about their warped killing fantasies. Evans does it exquisitely, though, with attention to detail in both the content and delivery, making for a scarily believable character.

The first competitor, Rob Carter, does what he does impeccably, too. Unfortunately, what he does has already been done rather well by a certain New Zealand folk parody duo. Sometimes he’s merely inspired by the Conchords, although more often he patterns of the uncertain, conversational writing and underplayed delivery are too close for comfort. His downbeat rap from a softly spoken middle-class perspective, with words like ‘bitches’ and ‘hos’ sitting uncomfortably on his lips, borders on the rip-off. That said, he demonstrates some delightful lines – especially in his not-quite-right euphemisms for sex – a nicely poised style and an engaging musicianship. It’s all just crying out for him to find his on voice, rather than appropriating someone else’s.

He, however, is a musical genius compared to Amateur Transplants – who are just the sort of act that gives musical comedy a bad name. This complacent, dated and lazy duo take hit songs, change some words, and make it a bit rude – under which artistically bankrupt process the song China In Your Hand becomes Vagina In Your Hand, or another unfortunate composition is mindlessly defied until it becomes all about farts. Yes, it’s that basic.

That they rewrite one such number based on an impromptu audience suggestion is reasonably impressive, until you realise it exposes how easy it is to write their entire routine. The pair – Adam Kay and Sumar Biswas – met while studying medicine, and there is a tiresome medical revue feel to their whole set – that is when it rises above the primary-school level.

Third finalists Horse and Louis showed more promise, in a set that was skittish but strangely intriguing. They took such comedy staples as the infuriation of dealing with automated phone lines or being inept Theatre In Education types, messing up a school talk on the dangers of drugs, yet made it endearingly their own. A decent smattering of genuinely funny lines and a charming manner go a long way, and their final silver ranking is testament to the fact they felt a little different, even if their style has not quite set yet.

Next came Sooz Kempner – not competing, having already scooped the awards’ best newcomer title with only six gigs under her belt. Not surprisingly, her comic sensibilities aren’t particularly developed yet – she changed the lyrics of a song and delivered it as if she was Katie ‘Jordan’ Price – but she has a quirky style and a knockout voice which more than carried her through the one number she performed.

Another showcase act next, and another note-perfect performance from the dry-as-dust Ginger and Black, whose shy dynamic and well-crafted material are a winning combination. They performed a couple of their greatest hits – Hopes, Dreams and Aspirations plus Interpersonal Skills, which both feature a wealth of quite funny lines wth the occasional inspired payoff – followed by a newer, less musical, routine in which Black, aka Daniel Taylor described in precise detail a less-than-successful date; which again unfolded with escalating, and brilliantly timed, ‘reveals’.

Jay Foreman was probably one of the most musically talented finalists, with a versatile set and compositions that sit very easy on the ears. He also takes a oblique comic angle with his writing, rather than going for obvious targets, which means that songs like I’m Glad John Lennon Is Dead will intrinsically hold the interest more than your standard parody. Likeable presence, elegant performance and a sparse but effective collection of gags add to a very pleasant package full of wit, if not bite, and well deserving of his third place.

Brigitte Aphrodite who won the spirit of the awards performed next. From which we can gather that said spirit is ‘self-consciously kooky’. A sort of British Bjork – albeit one found among the trendy tribes of Camden or Brighton – she looks as if she dresses by dressing in Velcro ad running through a vintage shop and atonally barks her way through disjointed melodies. I’m not sure it’s comedy or music – more a fashion statement made into a cabaret turn. Strange girl.

Finally for the competitors – and rightly so, as it would be a hard act to follow – came Abandoman, recent winners of the Hackney new act competition. What this three-man outfit do is improvise a short rap musical based around the lives of a couple of audience members. Easy to describe, but difficult to do. Yet frontman Rob Broderick, pictured, makes it look a breeze – eloquently ad-libbing smart rhymes without a moment’s hesitation. Sometimes they’re funny too, which seems like a bonus considering the skill involved in just not dropping the hip-hop ball. The only criticism is the first half of the set, where Broderick seems to take an age to establish the key facts from his victims, is very slow indeed. But once that beat kicks in, this impressive outfit soar. No wonder they took home the prize.

Before that result was announced, though, Tom Basden – a delightfully underplayed contrast to the bombast of Abandoman. Basden deserves the greatest compliment you can give to a musical act – that the material would be just as good without the music. Offbeat one-liners and surprising longer gags are certainly richer from being set to his melodic guitar strumming and the precision timing a soundtrack adds – but this is a set that is distinctively funny on its own terms – even the newly-penned song about Nazi memorabilia he slipped into the set. The delivery might be modest, but the talent certainly isn’t – and demonstrating what you can really do in the name of musical comedy.

Loretta Maine - some interesting songs/gags but very little in the way of comedic talent here. Strikes me a "vector" comedian - someone itching to get out of live comedy into a TV career where no doubt she will become a presenter or actor of some kind. That American accent is also a little ahem.....dodgy. Would like to see her do stand-up instead of a character though I am not sure she could stretch that far...

Incubus2011, December 2011

Brilliant. saw her music hall gig at the canal cafe recently and she held it together seamlessly. All she needs is the right vehicle and she'll do well. one to watch, in every way.

james, March 2010

It was a good hour overall - as with all musical comedy a few songs that should have just stopped with the first punchline. Lorretta Maine was the highlight but the thread of Julie trying to keep her meat sponsor just about worked. When it worked it was hilarious - the rest of the time it was good enough to make you want to wait for the next killer song / line. Meat bingo might catch on too

Andy Barr, August 2009

We saw her do a set at the 99 club in Islington and thought she was excellent – really loved her songs - they were hilarious – completely fooled everyone that she was an American! Following week heard her on ‘4 stands up’ on Radio Four! Again really good.

Sarah, London, May 2009

Dreadful; her "Loretta Maine" character simply isn't good enough to be heard in public - dreadfully unfunny and poorly written songs, duff guitar playing, and this has all been done before and so much better. One of those people who became a comic because it was what they were least bad at. Avoid.

Dan, London, May 2009

I have seen Pippa Evans twice now and both times she has been brilliant. The first time was at the Proud gallery where she more than held her own amongst the likes of Daniel Kitson and Tim Minchin. I also went to see her at the Soho theatre doing her Edinburgh show. Again she was fantastic - totally brought the house down and the audience loved it. Brilliant stuff!!

Steve Gordon, March 2009

Awkward, self conscious and distinctly unfunny. Don't know if i saw her on a particularly dire night, but was embarrassed by how badly she was received.

jess levine, March 2009

Breathtakingly talented. I foresee no obstacles to reaching the very top.

Paul Sinha, December 2008