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Show type: Edinburgh Fringe 2007
Bevan And Browne Are Terrified
Sian Bevan and Niall Browne decided to tackle terror in their own special way. The good news is: they won. Let them take you beyond fear to a place without pigeons.
Nothing about this works. These two lacklustre would be comedians may have hoped to gain strength in numbers, but they only conflict with each other and gain precisely nothing from the company. They are plainly terrified, and with good reason. They are not funny.
Each presents their own material by turns, with scarcely a tenuous link to pull it all together. There is mention of pigeons and laminate flooring, paired as though the juxtaposition of the two should provide amusement in itself. It doesn’t. Ho hum.
Browne delves into his favourite pub discussions and pronounces organic yoghurt the real salve to The Troubles in Ireland, as though they were just a national bout of thrush. And the moment Browne utters this dubious pearl, Bevan jumps back into the fray with a sequence of rapid-fire drivel dull enough to make you wish you’d brought your earplugs and a book.
This is the pattern, Browne making way for the slightly less interesting material of his partner, and the two indulging the fantasy that they have merely undertaken to Show and Tell every day for a month.
At least the seating is comfortable and the exit uncluttered. Some of the audience made use of the latter. This reviewer could not.
.Reviewed by: Chloe Smith
I have seen this show twice and more or less agree with Colin West's comments. The delivery is indeed not always spot on, but both performers are engaging and the majority of the material is strong. The contrast betweem the light -sometimes fluffy - delivery and the sometimes dark, often intelligent and psychologically insightful material is particularly notewothy. I can perhaps see how the value of this show can be missed if you are not appropriately tuned in, but must strongly disagree with this reviewer.
I saw the show and thought they were pretty good. As did the majority of the audience. Accepted Browne and Bevan's chemistry as a duo is a little stilted and it was not a seamless performance, but there was some good interaction and great comic riffs on IKEA, Goth culture and our irrational fears. Beneath the apparently gentle observations and surreal flights of fancy, there was a strong subversive critique of the manufacture of alarm to create obedience. Perhaps the reviewer was too comfortable to notice this?