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Gadd and Winning: Well, This is Awkwarder
Gagging for Attention 2012
Gareth Morinan Explains How Ricky Gervais is a 'Mong' for Cutting Gareth Morinan Out of Life's Too Short
Gareth Morinan Presents A Wilmops Good Improv Show
Gareth Morinan Presents the Saturday Debates
Gareth Morinan: Truth Doodler
Gareth Richards: Introvert: Never Been to Disneyland
Garrett Millerick: Sensible Answers to Stupid Questions
Garrett Millerick: Which One's Fergal?
Gary Coleman: And Still Rarely Wrong
Gavin Webster: Bill Hicks Wasn't Very Good
Gay Straight Alliance
Gearoid Farrelly: Turbulence
Gemma Arrowsmith: Defender of Earth
Genevieve Swallow is Sharing
Geoff Cotton and Anna Dawson: Light Relief
Geoff Norcott Avoids a Double Dip
Geoff the Entertainer
George Ryegold's God-In-A-Bag
George's Marvellous Medics 2012
Gerry Howell: Glorious Invention
Giacinto Palmieri: Pagliaccio
Giant Talking Cat
Ginge, the Geordie and the Geek: All New Show 2012
A Good Catholic Boy
The Good, The Bad & The Irish!
Google | Complex
Gordon Southern: A Brief History Of History
Graham Whistler: Stand-Up, Fall Down
Grainne Maguire: Where Are All the Fun Places and Are Lots of People There Having Better Fun?
Graters: Julian Ignores His Friend And Talks To A Pretty Girl
The Great Big Comedy Picnic 2012
The Great Puppet Horn
Greg Proops Podcast: The Smartest Man In The World
Greg Proops [Edinburgh 2012]
Gregory Akerman: Swedenborg, The Devil & Me
Guilt & Shame: Up All Night
Guy Manners: Manners Costs Nothing
Gregory Akerman: Swedenborg, The Devil & Me
Gregory Akerman is not the devil. Last year Gregory was accused of being the devil (and he definitely isn’t). Thanks to Gregory’s petty, small minded nature, he was unable to let this comment slide and, in an attempt to prove this accusation wrong, Gregory shepherds us through a literary history of the devil, from Ahriman, the initial inception of a single personification of evil, to the current attitudes toward evil. Hopefully, by the end we will all see how Gregory categorically is not the devil. Along the journey we meet 17th century philosopher, mystic and travel writer, Emmanuel Swedenborg. With Swedenborg we get to wonder around hell, seeing how the place has absolutely no resemblance to Gregory’s flat.
Watch the comic critics are already calling “amateurish, tedious and pretentious” (Jay Richardson, The Scotsman) argue his unnecessary and ultimately fruitless case. Its learning, but you know … with jokes and shit.
Gregory Akerman: Fringe 2012
Gregory Akerman says – probably not entirely earnestly – that he doesn’t think comedy is art, but mere entertainment.
Unfortunately, this agonisingly slow hour is neither, but a sort of semi-factual lecture encapsulating some potentially interesting subjects and ideas, which he fails to make only the least bit funny. Certainly laughs were a very scarce commodity as he languidly circled around the themes of his show – only really raising a chuckle when he screwed up his lines.
He’s read a lot about the devil, about the origins of 666 as the purported mark of Satan, and about 18th century Christian mystic Emanuel Swedenborg, who wrote a detailed description of hell, based on what God told him personally – and wants to share that book-learning with us in his aridly dry tones.
The genesis for this obsession supposedly came from a bad review he received at last year’s Fringe, which he read out line-by-line to challenge and over-analyse, not letting it lie. In fact, it sounds like two reviews he’s disingenuously stuck together, as the first couple of paragraphs were measured, informed critique – the second half, the sort of cheap insults made by the very inexperienced. and ends on an apparent accusation that he’s the devil.
No, he’s not the devil – but he is trying too hard to be Stewart Lee. That’s a go-to comparison for almost any comedian who speaks slowly, but Akerman has got the cadence and structure down to a T, including the deadpan way Lee plays back imagined conversations in line-by-line detail, circling around the point we know he was going to make all along. But while Akerman’s picked up the technique, he’s failed to grasp the bits that make them funny.
Some of the information Akerman has unearthed is potentially fascinating, but suffocated by this delivery. And he needs to remind himself that comedy needs to aim for laughs. Aside from the material about Beelzebub, he talks about his brother attempting suicide, and how he tried to exploit that for a sympathy shag, in a segment that struggles to get past the awkward and morbid.
The whole hour was performed to near-silence: respectful but hardly what you would want from a stand-up show. Still, it was very well-researched, you have to give him that.
|Date of live review: Friday 24th Aug, '12|
Review by Steve Bennett
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