Edinburgh Fringe comedy review

This is a show built almost entirely on the physical energy of the performers. A pounding, poppy soundtrack runs throughout, and some scenes are no more than the duo lip-synching or dancing to it… all very TikTok. And never more so than when they mime along to the long-viral clip of the terrible 2008 X Factor audition of Welsh brothers Ant and Seb.

Just The Two Of Us is a romp through various double acts from history or fiction, starting with the adorable twin babies ‘Womulus’ and ‘Wemus’  who went on to found Rome. And yes they do suckle on a wolf’s teats, although that then segues, with charming oddness, into an old-school swing number that could almost come out of Morecambe and Wise.

From this promising start, early sketches quickly fall into a predictable pattern. Their Bend It Like Beckham parody – aside from being a rare example of a sketch that goes on too long in this fast-paced hour – revolves around repressed sexual tension. Muppets Bert and Ernie – reimagined for some reason as Berlin fashionistas – revolves around repressed sexual tension. The Tracey Beaker spoof revolves around repressed sexual tension. A later skit revolves around repressed incestuous tension. Well, you’ve got to mix it up a bit.

Thankfully Maria Telnikoff and Vidya Divakaran – collectively known as Soft Play – break out of this pattern, but front-loading the show with so many similar scenes was not the wisest decision.

Their commitment to their show is all-consuming, and not just via their high-octane performance. Every scene involves a costume change, for instance, sometimes with elaborate set-ups to transform them into inanimate objects (peas in a  pod, salt and pepper, and delightfully, ‘cc’ and ‘bcc’ in an email chain) for dumb quickies. These tend to be the most memorable moments.

Launching into a Laurel and Hardy skit before confessing they know next-to nothing about the comedy icons is another fun idea. But turning them into moany boomers, just because they are old, and not in an especially funny way, was a misfire.

There is an imbalance in their performances. Divakaran is perfectly fine, but Telnikoff radiates star quality as well as laying claim to brilliantly expressive comic face.

They lean into that mismatch a couple of times, when Telnikoff plays the charismatic George Michael to Divakaran’s destined-to-be-forgotten Andrew Ridgley or Telnikoff brings out her wildest hammy acting to portray the Phantom Of The Opera while Divakaran remains the inanimate chandlier. 

The pair have a nominal falling out and rapprochement over this – standard double-act fare – but it seems perfunctory.  Playing more into their personalities and relationships would more likely forge a stronger connection with the audience.

With one banger after the next the soundtrack does a lot of heavy lifting in making the atmosphere lively and fun. The sense is of two best pals mucking about, having a riot entertaining themselves. That’s infectious, but you’d also be forgiven for wanting more.

• Chortle’s coverage of sketch and multi-character acts at the Edinburgh Fringe is supported by (but not influenced by) the Seven Dials Playhouse. Read more 

Review date: 18 Aug 2025
Reviewed by: Steve Bennett
Reviewed at: Pleasance Courtyard