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A Fools Paradise: Jason Kavan & Riley Stewart
A Shut Up Comedy From Japan
A1A Phil Klein
Aaaaargh! A Tribute to Malcolm Hardee
Abnormally Funny People
About Comedy: Stand-Up Course
Absolute & Almost Beginner Comedy Course
Absolutely Presents Frank Hovis in Filth
Absolutely Presents John Sparkes and Pete Baikie
Acclimatised 5 Squids Comedy, Kids!
Adam Buxton: I, Pavel
Adult Laughter Unbound
Al Pitcher: The Wolf Catcher
Albert Einstein Experience
Alex Horne: When In Rome
All About You
All By Myself
All In The Timing
Alun Cochrane: Comedy With Sad Bits
Amused Moose Awards
Amused Moose Hot Starlets
An American In Edinberggggg: (Improv Comedy For A
An Audience With Jack Frost
An Englishan, An Irishman And A Scotsman - Exposed
An Evening with The Kitsch Kittens
An Hour With Danielle Ward and Roisin Conaty
Anarchy in the Ukulele
Andrew J Lederer: Me And Hitler
Andrew Maxwell: Grand Royale
Andrew McClelland & Lawrence Leung's Somewhat
Andy Parsons: Genocide, Suicide, Cancer (and other
Angelo Tsarouchas: The World's A Whore
Anthology - Free!
Ants With Feelings
Appelby's Journey To The 21st Century
Arthur Smith's Swan Lake
Audience With Josie Long And Dan Nightingale
Ava Vidal: Misfit
Show type: Edinburgh Fringe 2005
A Shut Up Comedy From Japan
Hilarious physical comedy duo from Japan will transcend anything you think you know about clowning, magic and mime. 2004 sell-out and Dubble Act Award-winner.
The first 20 minutes of Gamarjobat’s show is a riotous, euphoric explosion of joyous physical comedy as this lithe Japanese duo conduct a fast-paced, perfectly choreographed feast of visual gags.
Stunt follows stunt in breathlessly fast succession, as these street entertainers made good frolic with abandon through all the tricks of their hard-learned trade. Limbs are extended, or amputated, objects produced from nowhere, and visual trickery of all kind is skilfully employed.
They’re master craftsmen, but playful with it. Kids, naturally, love it – but the duo conspiratorially tease adults, too, for falling for such obvious illusion.
Everything is performed with split-second precision. Each momentary sideways glance, each vital sound cue, is hit with unfailing accuracy, and all performed to a vibrant soundtrack matching the furious pace of the piece.
It’s a level of energy they can’t hope to maintain for a full hour – and they don’t. Instead, the rest of the show is given over to an extended Rocky-style boxing parody, conducted in silence, save for the odd recorded sound effect.
This is a delicate, quiet piece. The bouts are recreated in balletic slow-motion, the aftermath depicted with touching melancholy.
There are moments of humour, a sly visual gag slipped in here and there to lighten the mood, but this is a much more serious mime compared to the laugh-out-loud comedy promised by the high-energy opening.
The story is told with impeccable skill, from our hero’s triumph over a motley range of contenders to the punishing fitness regime; from his falling in love and quitting the game, right through to his final, reluctant return to the ring.
As physical theatre, it’s expertly done, but for comedy it’s not consistently funny enough, Five stars for craftsmanship, though.
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