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 (687)
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 »
Ranney: The Black Plague
Raving Loonies - Stand Up and Sketches
Raymond Mearns: Recovering Asshole
Rebecca Drysdale: One Woman in Several Pieces
Rebus McTaggart 
Rebus McTaggart: CrimeWarrior
Redemption Of Christopher Cunt
Reduced Edinburgh Fringe Impro Show
Reginald D Hunter: Fuck You In The Age of Consequence
Renton Skinner and Tom Verrall: Classic Entertainment!
Revels Student Comedy Awards Final
Rhod Gilbert: Who’s Eaten Gilbert’s Grape
Rhona Cameron 
Rich Hall [2007 Fringe]
Richard Bucket Overflows! An Audience with Clive Swift
Richard Coughlan: Honky-hating Heterophobic Manwhore
Richard Herring: Oh Fuck, I'm 40
Richard Sandling: VHS 2 – Planet of the Tapes
Ricky Gervais: Fame!
Rob Broderick: Absinthe Without Leave
Rob Deb: Heroquest
Rob Deering: Charmageddon
Robin Ince Knew This Would Happen
Roland Gent: Best Laid Marketing Plans
Ronnie Golden & Earl Okin: Back to Back
Rules of Comedy
Runaway Lovers 
Russell Howard: Adventures
Russell Kane: Easy Cliche And Tired Stereotype
Russell Kane: Easy Cliche And Tired Stereotype
In a blistering 2006, Kane bagged an If.comedy Award nomination. He’s back, joyously tossing off easy clichés. There’ll be stand-up and sketches until nothing’s left but stinking postmodern goo
Easy cliché and tired stereotype? Sounds like a line from a Chortle review…
In fact, that’s exactly where Russell Kane got his title from: our criticism of the broad generalisations that marred his otherwise entertaining best newcomer-nominated show last year.
Twelve months on, and little has changed. In Kane’s binary world people are either pretentious Guardianistas or oikish Essex lads, nothing in the vast expanse in between, the space most of us, including himself, actually occupy.
Someone in the audience tells him they’re from Reading, a generally unremarkable town of faceless industrial estates and identikit shopping centres. Yet in Kane’s world view, anyone from here is hoity-toity, as he imagines they dine on quail’s eggs and sun-blushed tomatoes.
Kane makes no apologies for his use of stereotypes, though, in fact he positively revels in it. He presents himself as a rebel for having the guts to sticking to his guns, defying the disapproval of The Man – or the comedy reviewers with which he seems unduly bothered. But it’s possibly the first time someone’s portrayed themselves as a radical for peddling the familiar.
‘The thing about stereotypes,’ he says, ‘is that they can be inconveniently true.’
It certainly seems to apply to his father, who is painted as a typical racist knuckle-dragging cockney. Yet when he describes his mother, whose latent prejudices are more concealed, it makes for better material because there’s more depth to it.
Likewise, when he played a gig at Oxford University, he admits he was ‘surprised how open-minded the audience was.’ Completely missing the irony of his own closed mind to think they would all be inbred aristocrats from the pages of an Evelyn Waugh novel.
Yet, despite the gaping flaws in his arguments, Kane is an undeniably a great entertainer. He has a passionate, pacy delivery, a showman’s sense of timing and a relentless, buzzy energy to excite an audience. The grand gestures and exaggerated recreations of anything he describes really hold the room.
And while this show largely occupies the same comic territory last year’s, the stand-up this time around is punctuated with short sketches, which he performs with Sadie Hasler. This is where he shines, his broad caricatures and impressive performance skills being better suited to a format where simpler characters can be an advantage.
His grotesques are very funny, and his Fakespeare, in which a modern-day domestic scene is acted out in the language and pentameter of the Bard, is a brilliant idea – and has already been turned into a series of shorts for Paramount Comedy. But an Essex Herbert knowing such fine poetry? How does that fit into his stereotypes?
Reviewed by: Steve Bennett
I went to see this show last night and I absolutely loved it. I was even sniggering on the bus this morning thinking about it. I think the review for this is a little harsh and over-analysed. This is the best thing I've seen so far this festival, I'd recommend it to anyone. Hugely entertaining.
The Comedy Zone
Edinburgh And Beyond 2007
Russell Kane's Theory of Pretension
Laughing Horse New Act Final 2004
Edinburgh and Beyond 
Russell Kane Presents Fakespeare: The Lamentable Tragedie Of Yates's Wine Lodge
Russell Kane: Gaping Flaws
Russell Kane: Human Dressage
Russell Kane’s Fakespeare: The Tragickal Saveings of King Nigel
Russell Kane: Smokescreens & Castles
Itch: A Scratch Event 
Russell Kane: Manscaping
Live At The Electric: Live At The Fringe
Russell Kane: Posturing Delivery
Comedy Gala In Aid Of Waverley Care 2013
Russell Kane: Smallness