Edinburgh Fringe 2000 (59)
Edinburgh Fringe 2001 (316)
Edinburgh Fringe 2002 (354)
Edinburgh Fringe 2003 (376)
Edinburgh Fringe 2004 (422)
Edinburgh Fringe 2005 (415)Edinburgh Fringe 2006 (547)
Edinburgh Fringe 2007 (668)
Edinburgh Fringe 2008 (733)
Edinburgh Fringe 2009 (773)
Edinburgh Fringe 2010 (927)
Edinburgh Fringe 2011 (963)
Edinburgh Fringe 2012 (1022)
Edinburgh Fringe 2013 (726)
Melbourne 2005 (26)
Melbourne 2006 (29)
Melbourne 2007 (31)
Melbourne 2008 (36)
Melbourne 2009 (36)
Melbourne 2010 (56)
Melbourne 2011 (36)
Melbourne 2012 (46)
Melbourne 2013 (57)
Misc live shows (203)
Montreal 2004 (6)
Montreal 2006 (10)
Montreal 2007 (15)
Montreal 2008 (17)
Montreal 2009 (17)
West End run (14)
See Less »
Caesar Twins and Friends
Caimh McDonnell: Futureshock
Cambridge Footlights: Under The Blue, Blue Moon
Carey Marx: Marry Me
Cats Like Cheese: 9 Lives
Charlie Pickering: Betterman
Che Guevara On The Fringe: The Tour
Chris Addison: Atomicity
Chris McCausland - As Seen On TV
Chris Neill - Middle Class Misery: The Board Game
Christie & Doyle's Axis Of Evil
Circus Of The Future
Colin & Fergus
Come Again: The World of Peter Cook and Dudley Moo
Comedy Gala 2005
Completely Made Up
Confessions of a Jingle Writer
Confessions Of A Toilet Attendant
Cracks In The Garden
Craig Hill's Got The Ballroom
Crime, Comedy And Me
Christie & Doyle's Axis Of Evil
Saint Augustine once proclaimed: 'what is called evil in the universe is but the absence of good'. But he was a tosser. In their brand new sketch show, Bridget Christie and Andrew Doyle expose the many faces of evil. What is it? Where is it? Why does it be?
Double acts, they always say, are like a marriage. Odd then, that there have been so very few since George Burns and Gracie Allen.
Perhaps it’s a power thing. Comedy partnerships are invariably mismatched – but have a dominant male, and it’s unappetising bullying; a dominant female and she’s a humourless battleaxe.
Fringe newcomers Bridget Christie and Andy Doyle overcome this by the convenient happenstance that he’s gay. There’s no relationship worries, and he can be the poor misunderstood, artistic type to Christie’s no-nonsense – and sometimes slapsticky violent - practicality.
For this, their debut, they’ve chosen to cover evil. So you might think Osama Bin Laden, Pol Pot, Hitler or Stalin might make an appearance.
Sure, enough, there’s a nod to them. And, musically, to that other male-female double act that put Christie’s home town of Gloucester on the map: Fred and Rose West.
But this is not the thrust of the show. They’ve taken their theme very broadly, so to them, simple bad manners is evil – which gives them a wide scope on which to base their mix of sketches.
Best of the lot involves the emotionally taught married couple, in which the wife flips her feelings on a sixpence, switching in an instant from the lovey-dovey to the embittered bitch, much to his mournful incomprehension. They are both a wonderfully observed, well executed, inventions - if Catherine Tate should ever be in need of a couple of new characters, she needn’t look much further that this.
Other highs include the effective scene-setter involving an evil potato-headed mannequin and the bizarre, and quite creepy Brief Encounter-esque encounter on a station, worthy of Dame Celia Molestrangler herself.
Not everything’s so strong. The well-to-do couple spouting barely-veiled racism is saddled not so much with their politically incorrect lines, but with the fact there’s little to say. And most of the solo links are found wanting.
Their forte is inappropriate language – not rude words, but a clever mangling of English and her grammar. There’s a knowing edge to it, too. Christie’s savage Irish nun Sister Alopecia is quickly followed by a discussion about how it’s a caricature every female character has ever found material in.
Another strength is that they don’t panic in a relentless rush to get to the next gag. That it takes the unhurried Doyle an age to awkwardly remove that shop dummy from the stage is a delight of tortured embarrassment. But the flipside of this is that whenever a sketch doesn’t work, it always seems overlong.
But despite these complaints, this is a confident, sporadically brilliant, if still-patchy debut. Most of all, though, Christie and Doyle have an obvious promise which is not always found in the myriad of sketch acts that populate the Fringe. You could do a lot worse for an early-evening excursion into this much (if often rightly) maligned genre.
Good show, this man is my teacher.
Christie and Doyle are, indeed, better looking than the Krankies. And funnier too. Although I only saw a preview show, it was clear after just two performances that they have spent a lot of time on the writing. It's all the better for it. I'm not going to ruin the fun by giving away the characters and plotlines, but I can guarantee you'll never look at pregnant women, fluffy toys and skiffle music in the same way again. Evil, but oh so tasty.
Funny Women Final 2004
Laughter In Odd Places
Bridget Christie: The Court Of King Charles II
Bridget Christie: The Court Of King Charles II The Second
Bridget Christie: My Daily Mail Hell
The Holy Trinity
Bridget Christie: A Ant
Sex And Hugs And Forward Rolls
Andrew Doyle's Crash Course In Depravity
Bridget Christie: Housewife Surrealist
Andrew Doyle: Whatever It Takes
Bridget Christie: War Donkey
Bridget Christie: A Bic for Her