Edinburgh Fringe comedy review

Visually, he’s part Rocky Horror’s Riff Raff and part musician Edgar Winter. Vocally, he’s ‘mad bloke yelling in the street’ and ‘classical actor gone rogue’,  with a pleasingly Lou Reed-timbre singing voice to boot.  

And comedically, John Robertson’s racing mind constructs a show out of nothing every damn night. It is an extraordinary achievement.

Having not done my homework, I did not know this was an improvised crowd work show, audience fully lit.  I don’t think anyone remained unspoken to, which would ordinarily have me galloping for the exit, had I even entered in the first place.

However, it was a completely positive experience. Instead of the traditional approach of ripping the piss out of anyone in the comedian’s sightline, we were universally bathed in jocular affirmation, without it ever feeling ingratiating.

The crowd plainly adored the experience, bonding over the in-jokes against latecomers (very gentle ribbing), while Robertson uncovered a few audience champions to whom he returned but not to the point of bullying. They all seemed to love it.  

He had two modes, both unmic-ed, the hectoring street roar and the smooth, actorly tones. It made me worry for his voice, but clearly he doesn’t have a problem. 

The hook of the show was that ‘it hasn’t started yet,’ even at the 40-minute mark when he introduced an electric ukulele – a high-risk manoeuvre if ever there was one.

Ridiculously the singing amplification distorted the vocals too much on a couple of songs, but the sheer brio of the performance carried him through, and the audience were thrilled to provide call and response. 

While the musical numbers gave the audience a rest from participating directly, they were not as strong as the stories spun on the hoof. But presumably even Robertson needs a moment to pause without being seen to slow the performance.  

Everything about this show is uncommon; he’s an extravagant, genial showman whose audience interaction doesn’t make you want to spit. It was a commanding, bonkers street performance brought indoors, with a warmth that dissipated any anxiety/hostility that improvisation can provoke.  And when you see it, it will be completely, riotously different. 

Review date: 17 Aug 2026
Reviewed by: Julia Chamberlain
Reviewed at: Laughing Horse @ The Counting House