Gig guide for period 01 June - 23 November

Please find our first NSW gig guide below. NB: every effort has been made to ensure that information included below is correct but you should confirm with the venue information relating to start times, etc.

If you can think of some shows that should be included in this guide, please email us at:

whosonfirstblog AT gmail.com

Quick tip: if you know of a specific comedian that you’re interested in, you can search for them using the search within web page function (Edit-> Find). You never know, your favourite comedian may just be performing in a town near you!

June:

01 Satire (Sydney Writers' Festival) Stefano Benni, Max Barry, Charles Firth Bangarra Theatre FREE, www.swf.org.au
01 Greg Fleet + MC Chris Radburn Greg Fleet + MC Chris Radburn Sydney Comedy Store 8:30pm www.comedystore.com.au, 02 9357 1419
01 My Fair Lawyer by Tony Laumberg My Fair Lawyer by Tony Laumberg TAP Gallery, Darlinghurst MCA- 1300 306 776 or www.mca-tix.com
02 Greg Fleet + MC Chris Radburn Greg Fleet + MC Chris Radburn Sydney Comedy Store 8:30pm www.comedystore.com.au, 02 9357 1419
02 My Fair Lawyer by Tony Laumberg My Fair Lawyer by Tony Laumberg TAP Gallery, Darlinghurst MCA- 1300 306 776 or www.mca-tix.com
03 Laugh Out Loud (Sydney Writers' Festival) Wil Anderson, Max Barry, Charles Firth & Nury Vittachi Sydney Theatre 02 92501777 or www.swf.org.au
03 My Fair Lawyer by Tony Laumberg My Fair Lawyer by Tony Laumberg TAP Gallery, Darlinghurst MCA- 1300 306 776 or www.mca-tix.com
05 David Jory + guests David Jory + guests Sydney Comedy Store 8:30pm www.comedystore.com.au, 02 9357 1419
05 Fiona O'Loughlin Fiona O'Loughlin Drama Theatre, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
06 David Jory + guests David Jory + guests Sydney Comedy Store 8:30pm www.comedystore.com.au, 02 9357 1419
06 Fiona O'Loughlin Fiona O'Loughlin Drama Theatre, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
07 Danny Bhoy Danny Bhoy Drama Theatre, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
07 David Jory + guests David Jory + guests Sydney Comedy Store 8:30pm www.comedystore.com.au, 02 9357 1419
08 Danny Bhoy Danny Bhoy Drama Theatre, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
08 David Jory + guests David Jory + guests Sydney Comedy Store 8:30pm www.comedystore.com.au, 02 9357 1419
09 Danny Bhoy Danny Bhoy Drama Theatre, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
09 David Jory + guests David Jory + guests Sydney Comedy Store 8:30pm www.comedystore.com.au, 02 9357 1419
10 Rob Shehadie Lebanese Stand Up The Factory Theatre 8:00pm www.ticketek.com.au
10 Danny Bhoy Danny Bhoy Drama Theatre, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
12 Eddie Ifft Eddie Ifft Drama Theatre, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
13 Danny Bhoy Danny Bhoy Drama Theatre, Sydney Opera House 8:00pm 132849, www.ticketek.com.au or group bookings: 1300 364 001
14 Danny Bhoy Danny Bhoy Drama Theatre, Sydney Opera House 8:00pm 132849, www.ticketek.com.au or group bookings: 1300 364 001
15 Il Dago- George Kapiniaris, Joe Avati, Simon Palomares & Nish Il Dago- Ethnic Comedy Club Marconi 02 98232222
15 Jimeoin Jimeoin Revesby Workers' Club 6:30pm 18+ show www.ticketmaster.com.au
15 Danny Bhoy Danny Bhoy Drama Theatre, Sydney Opera House 8:00pm 132849, www.ticketek.com.au or group bookings: 1300 364 001
16 Jimeoin Jimeoin Revesby Workers' Club 6:30pm 18+ show www.ticketmaster.com.au
16 Danny Bhoy Danny Bhoy Drama Theatre, Sydney Opera House 8:00pm 132849, www.ticketek.com.au or group bookings: 1300 364 001
24 Various Theatresports® Schools Competition Grand Final Enmore Theatre www.ticketek.com.au or www.improaustralia.com.au
26 Various Melbourne International Comedy Festival Roadshow Sutherland Entertainment Centre 02 95218888
26 Jonathon Atherton + guests Jonathon Atherton + guests Sydney Comedy Store 8:30pm www.comedystore.com.au, 02 9357 1419
26 Wil Anderson Wil Of God Playhouse, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
27 Wil Anderson Wil Of God Playhouse, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
27 Jonathon Atherton + guests Jonathon Atherton + guests Sydney Comedy Store 8:30pm www.comedystore.com.au, 02 9357 1419
27 Various Melbourne International Comedy Festival Roadshow Penrith Panthers Evan Theatre 02 47205555
28 Jonathon Atherton + guests Jonathon Atherton + guests Sydney Comedy Store 8:30pm www.comedystore.com.au, 02 9357 1419
28 Wil Anderson Wil Of God Playhouse, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
28 Various Melbourne International Comedy Festival Roadshow Riverside Theatre Parramatta www.biglaughcomedyfestival.com.au or 02 88393399
29 Various Melbourne Comedy Festival Roadshow Enmore Theatre 02 95503666 or ticketek.com.au
29 Jonathon Atherton + guests Jonathon Atherton + guests Sydney Comedy Store 8:30pm www.comedystore.com.au, 02 9357 1419
29 Wil Anderson Wil Of God Playhouse, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
30 Various Melbourne International Comedy Festival Roadshow Revesby Workers' Club 02 97722100
30 Jonathon Atherton + guests Jonathon Atherton + guests Sydney Comedy Store 8:30pm www.comedystore.com.au, 02 9357 1419
30 Wil Anderson Wil Of God Playhouse, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 00130 Rob Shehadie Lebanese Stand Up The Factory Theatre 7:00pm & 9:30pm www.ticketek.com.au

July:

01 Various Melbourne Comedy Festival Roadshow Enmore Theatre 02 95503666 or ticketek.com.au
03 Wil Anderson Wil Of God Playhouse, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
04 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
04 Wil Anderson Wil Of God Playhouse, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
05 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
05 Wil Anderson Wil Of God Playhouse, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
06 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
06 Wil Anderson Wil Of God Playhouse, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
07 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
07 Wil Anderson Wil Of God Playhouse, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
08 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
09 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
10 Wil Anderson Wil Of God Playhouse, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
10 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
11 Wil Anderson Wil Of God Playhouse, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
11 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
12 Wil Anderson Wil Of God Playhouse, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
12 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
13 Wil Anderson Wil Of God Playhouse, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
13 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
14 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
14 Various- Jimeoin, Akmal Saleh, Judith Lucy, Bob Franklin, Corrine Grant, Lawrence Mooney, Red Symons Another 1 Night Stand Capitol Theatre, Haymarket 8:00pm www.ticketmaster.com.au
14 Wil Anderson Wil Of God Playhouse, Sydney Opera House 8:00pm www.ticketek.com.au or group bookings 1300 364 001
15 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
16 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
17 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
18 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
19 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com
20 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com21 Dead Caesar by Chris Taylor, composed by Andrew Hansen Dead Caesar by Chris Taylor, composed by Andrew Hansen Wharf 2, Walsh Bay 02 92501777 or 132849 or wharf2loud.com

August:

-

September:

14 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
15 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
17 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
18 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
19 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
20 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
21 The Scaredies Stumped Enmore Theatre 8:00pm www.ticketek.com.au
21 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
22 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
24 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
25 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
26 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
27 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
28 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 00129 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001

October:

01 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
02 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
03 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
04 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
05 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
06 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
08 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001
09 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 00110 Don's Party By David Williamson, Directed by Peter Evans and with Glenn Hazeldine, Anita Hegh, Mandy McElhinney, Travis McMahon, Rhys Muldoon Don's Party Drama Theatre, Sydney Opera House www.ticketek.com.au or group bookings 1300 364 001

November:

23 Peter Helliar Peter Helliar Enmore Theatre 7:30pm 02 95503666 or ticketek.com.au

Event Review: Danny Bhoy @ The Enmore

Artist: Danny Bhoy
Date: 30 March, 2007
Venue: The Enmore Theatre
___________________________________________________



Dearest Danny Bhoy…Folks, here is a comedian I would bestow the following honour, he has the funniest opening gag to a show. The aforementioned joke is a visual one and something I certainly wouldn’t want to spoil for anyone reading this. But let’s just say, that at the Enmore, there was a lone figure silhouetted against thick smoke on the stage, performing the sweet tune, O Danny Boy on the bagpipes. Needless to say, Bhoy’s show began with an absolute corker and it only got funnier from there.

Danny spoke about how he had recently fallen off a stage in Ballarat, a venue where no less than four other people had fallen from the stage, including the children’s favourite, Humphrey B. Bear. Bhoy has since come to the conclusion that this hazardous venue contains not a stage, but in fact, a ramp.

Bhoy attempted to interact with the audience, despite subsequently admitting that this approach to comedy was not his forte. Nevertheless, he did get one good line after asking “Stephen” from the audience what his occupation was. The man answered, “I.T.” Danny innocently replied, “You work in it, what is IT?”

Rather, Bhoy’s main forte resides in his talent and ability to impersonate various nationalities with wit and occasional accuracy. This performance included stereotypes of Italians, the French and the English. In addition, as Bhoy is doing an extended tour of Australia, he also portrayed his own unique interpretation of the Australian Parliament. This was subsequently followed by a jibe at the anthem, Waltzing Matilda, where he noted that you wouldn’t go and commit suicide if all you had done was simply stolen a sheep.

Furthermore, another excellent joke in Danny’s repertoire was his discussion about the rapper Fifty Cent. Bhoy admitted that he would like to interview him (whilst either of them is in the UK) because this is most likely how the proceedings would transpire:


Danny- How have you been 36p?
50c- It’s actually Fifty Cent!
Danny- Not in this country, mate!

In addition to the above, Danny also added the following (while trying to maintain a straight face):
“How stupid is he (50c), to have to hide behind a ridiculous stage name!”

Finally, Danny also mentioned that he had recently gotten dial-up Internet connected at home, but that he still prefers to research in a library. The reason for this is because in a library, “Someone doesn’t pop in every thirty seconds shouting, ‘Do you want to extend the size of your penis!’”

In sum, Danny’s show was a most enjoyable one where the audience was treated to a lot of absolutely hilarious material, some thought-provoking anecdotes and some first class acting and impersonations. And for my money, I’d go to see the same show again simply to see that opening gag one more time.

Event Review: Dylan Moran @ The Enmore

Artist: Dylan Moran
Title: -
Date: 27 March 2007
Venue: Enmore Theatre, Enmore
_______________________________________________

There comes a time in almost everyone’s life when for a moment, a musician, author, comedian, or artist manages to encapsulate and articulate something that mirrors your own life so well, that you briefly delude yourself into believing that they wrote or produced that thing solely “about me.” For myself personally, I had a moment similar to this when I saw Dylan Moran at the Enmore Theatre.

Moran, the Irish comedian who personifies his famous character, Bernard Black during much of his stage show, was talking about his latest foray into learning how to drive. The man, now in his mid-thirties bellowed, “What sort of metrosexual prick have I become when I can sit around and talk about Italian cheese for four days but I can’t even drive a car!” What can I say? Thanks Dylan, that observation describes me perfectly.

Dylan is a master of observational comedy. Unlike other comedians who occasionally focus on the inane minutiae of modern life, Moran manages to share his caustic wit with all and provide a highly entertaining show in the process. As he stands on stage amidst the cloud of smoke emanating from his cigarette, he is happy to venture to any topic and has no qualms about being politically incorrect. Suddenly, a look of disgust appears on his face as he looks at the back of a cigarette pack. He says, “You people disgust me. I didn’t know Australians smoked with their feet!”

From one vice to another, Moran chooses to speak about alcohol. First he observes, “All adults are just tall children that drink beer.” He then describes the fact that most people meet their prospective partners when they are completely drunk and off their face. He also notes that some people even go on to spend the rest of their life with someone they had met in this incapacity. And yet, “You wouldn’t buy a toaster when drunk (pause). Because that’s REALLY important.”

Moran is also a versatile performer because while he can embody the Bernard Black character so well, he can also show a softer side, as the father of his young children. He said that prior to having children, most people think that they are going to feed their youngster’s curiosity by teaching them about art, politics and the world. Unfortunately, you soon come to the realisation that children have their own questions like, “Does Batman have nipples?” and “What do you call the name of the space between the teeth on a comb?”

Moran provides an overall entertaining show. However, my only complaint would be that I would enjoy his show far more if it went for a little longer. But while Moran spends his time carefully preparing and setting up his jokes like a master craftsman, you get the impression that he is most happy to swan onto the stage, provide the crowd with his interesting diatribe and leave them wanting more so, that he can quote, “Hang out with other Irish celebrities like Van Morrison and Bono.”

Event Review: Akmal @ Riverside

Artist: Akmal Saleh and Joel Ozborn

Title: -

Date: 28 March, 2007

Venue: Riverside Theatre, Parramatta

___________________________________________________________

As a Riverside Theatre virgin it was with a degree of curiosity that I approached the show by comedians Akmal Saleh and Joel Ozborn on March 28. As this was the first occasion I had visited the venue I will spare you a long diatribe about the facilities. However, I will note that being seated inside this particular theatre was a little like being on the set of The Muppet Show thanks to the royal, plush chairs and three tiers of seating. And whilst I’m using the Muppets as an analogy, another apt description of the night would be best offered by the two older men from Jim Henson’s puppets, who typically sat up in the wings, “They weren’t half bad;” because while the show wasn’t the most hilarious one that I have witnessed, there were a few good jokes in the mix to keep the audience amused for an hour and a half.

The first comedian, Joel Ozborn, had a few reasonable jokes even if I had already heard some of the material in another incarnation by a different comedian. A prime example of this would be Joel’s talk about the name of the sporting goods store, The Athletes Foot. Now forgive me if I’m wrong, but I’m sure it was Jerry Seinfeld or possibly even Kenny Bania who made this observation on the sitcom Seinfeld back in the nineties.

Another unfortunate thing about Ozborn’s set was his song at the very end. Whilst I don’t doubt that the lyrics would have been amusing to hear, unfortunately I was unable to catch many of them because of the twangy vocal style Joel adopted. And judging by the audience’s reaction to this number, I don’t think I was alone.

Then it was time for Akmal. When he first came onstage he pretended that the video behind him was representing what he was actually thinking at that given moment. I found this to be initially interesting and a rather novel idea. However, after a few minutes it became apparent that Akmal was simply using this to have an egoistic argument with himself. This medium also ruined the of one of Akmal’s best jokes about a Spanish Firefighter. Thankfully, Akmal pulled the plug (literally) on this routine. punch line

Akmal’s repertoire of jokes was of a reasonable standard but they typically centred around capitalising on stereotypes (insert your own jokes about Campbelltown here to get a better idea.) There was also his observation about the suburb, Seven Hills and the fact it had no hills despite the name and that this was because quote, “the people from Blacktown stole them.” Unfortunately, another substantial part of Akmal’s set was devoted to banter (or should I say picking on) an audience member, “Adam.”

At two other points of Akmal’s set I was reminded of Ross Noble, who I had only previously seen live at the Enmore Theatre. This linkage was most salient during the talk about scuffles with customs officials. In addition, there was an extra joke from another one of Noble’s shows where he spoke ill of Fundamentalist Muslims only to pretend that he was scared, as he believed that these typical suspects would go to see one of his shows while en-route to some new terrorist act.

Finally, the evening ended with Akmal asking the audience if they had any questions (something I have noticed both Ross Noble and Danny Bhoy do during the encores of their performances too.) Moreover, Joel joined Akmal onstage where they gave the audience an interesting insight into life on the road and more specifically, the game these two comedians have devised and enjoy playing. The rules are that they have to go into various charity shops and purchase the most outrageous objects so they can be used in the show to hopefully generate a laugh from the audience. This was funny, albeit a little juvenile, and to be honest it is nothing new, as one only needs to watch some old Tommy Cooper routines to see a comedic master’s own eclectic array of props.

I personally loved Akmal’s sarcastic observation when he pulled out a rather long, odd-looking hairy piece of material. He apparently had asked the shopkeeper how much it was and when he was told that it was only twenty cents he acted shocked because (although he had no idea what it was) he had apparently been looking for something just like it all of his life. And there was one more sarcastic endorsement as the pair spruiked the virtues of an allegedly highly collectible vinyl record. This piece was considered so rare and widely sought after that this duo had felt extremely privileged when they had managed to acquire not one but five copies. Here’s to the next hundred kilometres where they might find another two copies to make for one full set, for every mood and weekday and because after all, this is what we call the Muppet show!

Event Review: Ross Noble @ The Enmore

Artist: Ross Noble
Title: Fizzy Logic
Date: 16 March, 2007
Venue: The Enmore Theatre, Enmore

_____________________________________________________________

Ross Noble is easily one of the world’s greatest comedians. There, I’ve said it. Now you may be questioning why I am making such a bold statement to open a review so sit back and let me tell you more about this assertion. Fizzy Logic was the third time I have seen the man live and I have lost count of the number of times I have witnessed him appear on television, on radio or in print. Added to this is the fact that his comedy shows typically conclude at the three hour mark (including an interval) and yet I have never observed him repeat a joke; a large feat I must say, given I am at pains to name another comedian who rivals this level of originality and hilarity.

So it was with great pleasure that I entered the Enmore with a few minutes to go until show time. And the audience was greeted with Noble’s typical stage set paraphernalia, this time a series of large, metallic beach balls creating a wall (with a small opening) to cover the standard curtains. (If you have ever seen The Who’s Tommy movie, think of the final scene when Roger Daltrey is jumping amidst followers and silver “pinballs” singing We’re Not Gonna Take It, to get a better idea of the stage clobber.)

But I digress, as the houselights were dimmed and a cartoon, singsong short began to advise the crowd not to use mobiles, cameras and recording equipment during the evening. It looked like something that would have been at home during a concert by The Wiggles.

With the crowd warmed up and ready to be dazzled (by shiny balls and a charismatic comedian,) Ross entered the stage adorning a regal (or noble!) purple shirt. And Ross has this impeccable ability to immediately win over the audience thanks to his high-energy dashes around the stage and a quick mind to match his flailing limbs.

When discussing the show a week later with some friends, I told them that as an audience member, you would be crazy to leave at any point of the night, even if you are bursting to use the amenities, because I guarantee that you will miss too many of Noble’s brilliantly orchestrated tangents. And Noble deals with this potential problem by recruiting audience members to recall topics and stories that he begins and often ventures far away from, as he improvises, interacts with the audience or is distracted by shiny objects. And Gez, the beefy man seated front-row, centre did a fantastic job assisting Ross at a few points in the evening.

At one stage there were so many loose threads to be memorised that Noble felt he would need a “Remembrance Chart” to assist him. I think if anyone ever went to the trouble of making one it would look like a cross between a Pro Hart artwork, random words, the emptied contents of a toy box, a half-finished dot-to-dot picture and a plush monkey.

Noble finished the first half of the show which at times had jokes that were a little unsavoury and quite politically incorrect, but funny nonetheless. Yet many of Sydney’s latte-sipping audience members were judgmental and even had the audacity to respond to a few of Noble’s jokes with groans.

After a short break, Noble returned for another half that was much better received and hilarious as always. He was greeted with some gifts left on the stage by patrons during the break. He was most intrigued by the Fantail lolly because quote, “In England we don’t get confectionary with factual information on them.” Ross soon had the audience in hysterics by simply reading the contents of the trivia, “The music of Phil Collins.” The audience guffawed as they learnt that Collins had an “international hit” after collaborating with a man called Adam (and many questioned how Collins achieved this success.) Unfortunately there was no further information about this interesting subject, which lead Noble to improvise that God had sent Adam (the first man) and decided his fate was to produce a number one record with Phil. The only problem was that Noble missed an important opportunity for a joke as he acted and an audience member who yelled out, “Genesis” instead capitalised on this awesome pun. Although Noble admitted that he had planned to say the joke later, he was content to add James (the nineties band/disciple) as another worthy associate which the audience enjoyed, albeit if some were unaware of the musical and religious connotations.

Another fine music-related joke from Noble was about the questionable surroundings of the neighbouring inner city suburb as he noted that around here your attacker was likely to “stab you and then hand you a flyer to an acoustic music gig.”

Finally, he shared a story about problems with customs officials cajoling him to tell a joke and his subsequent strip search; his journey around Australia by motorcycle and one of his great loves, Star Wars. Another interesting observation by Noble was about the importance of headwear in religion as often, Muslim women wear the burka and Jewish men wear skullcaps. Ross said that God apparently has a fond interest in millinery and that he would like to see the top hat declared a religious hat, if only to see God with two strong devotees, Slash from Guns n Roses and Fred Astaire.

Furthermore, despite time quickly approaching the three-hour mark, Noble graciously answered many questions posed by the audience and was happy to finish the jokes he had failed to end earlier. In all, it was one absolutely hilarious night where I laughed so hard and so frequently I had a sore stomach that weekend! Forget the gym ladies and gentlemen; see Ross Noble to attain those highly desired, flat abs. And finally I will say that I am still waiting to hear Noble repeat a joke, but at this stage it will have to wait until his next Australian tour, presumably in 2008.

Event Review: Wil Anderson + supports @ The Roundhouse (UNSW O-Week Comedy)

Date: 20 February, 2007

Artists: Wil Anderson + MC Justin Lodge + supports: Nick Sun, Professor Hughbert and Sam Bowering.

Venue: The Roundhouse, UNSW Kensington

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University comedy shows are an odd conundrum often presenting themselves as a polarity with two very distinct parts. On the one hand they have the potential to showcase and nurture young, talented and creative individuals. Conversely, they also have the potential to present unamusing amateurs. Unfortunately, the comedy night that was part of UNSW’s O-week celebrations, with the exception of the headliner, tended to primarily fall into the latter category.

Having arrived fifteen minutes prior to the official time for the doors to open, I was surprised to see security allowing people into the venue to witness a group performing Impro Comedy and attempting to interact with the audience. In hindsight, I probably should have remained outside because this amateurish group was difficult to watch for two reasons, 1) most refused to use microphones despite being drowned out by lage numbers of patrons entering The Roundhouse and others continuing to chat with their friends and; 2) they were neither amusing nor interesting to watch. One friend of mine said that they were students and that the audience should give them a break. Upon reflection however, another friend replied, “But the sad thing is, they don’t look like they’re students.”

As security showed no sign of turning patrons away, more seats were brought in and some people were forced to assemble on the mezzanine. The combination of too many bodies in one space and the lack of air-conditioning meant that the room was stiflingly hot and the solitary bar that lay in the wings on the other side of the venue seemed like an unattainable oasis, on account of the sea of bodies and chairs obstructing the path to it.

In essence, the feelings expressed by people in the room were of general discomfort, which detracted away from an ambience one would typically associate with a comedy night. To alleviate this loss, many individuals decided to drink copious amounts of alcohol. Instead, this turned a significant proportion of them into drunken, vocal louts insistent upon disrupting many of the acts. Thus, MC Justin Lodge did not have an easy job during this show. But he also did very little to assist the audience by opening with the derivative, “Are you ready for some comedy?” before launching into tedious jokes that dragged forever.

He certainly did not win the crowd over but rather pitted many of them against him from the outset. The biggest reaction he got all night was when he asked the crowd of students if they had any children. He was “dismayed” to find out that they didn’t have any. He was confused because he had told a similar joke at UWS and had received a far stronger reply from the group assembled.

Generally speaking, Lodge’s jokes were met with laughs of pity and weak chuckles. A group sitting next to me initially said they felt sorry for him. Yet they were among the first bunch of people who climbed over chairs to exit the venue when he returned onstage after the headliner, Wil Anderson had finished.

The first act was Nick Sun, a previous Raw Comedy winner who did a fine job of winning over the disaffected youths in the audience with his cynical observations about topics such as Valentine’s Day, night clubs and the death of Anna Nicole-Smith. In the case of the recently deceased, he chided himself for having a brain that encoded information about someone like that in the first place.

The second act was a recently appointed lecturer at the university who was attempting to explain a system he had developed regarding the mechanics of humour. This spiel might have been interesting to listen to in a lecture theatre where the students could be engaged (albeit some who only listened as preparation for a final exam.) But in a comedy night, this did not wash well with a crowd that were already proving to be pretty tough. As such, most of his talk was met with drunken, obnoxious yobbos yelling at him to get off the stage or who clapped at inappropriate points with the aim to patronise the poor man.

It was after this flat act that the crowd really turned on MC Justin Lodge. Amidst taunts to leave the stage, he said that he would bring the next act out only after he had delivered twenty more jokes. He was serious! I realise this guy had a contractual obligation to fulfil, but this talk only taunted and further infuriated the audience.

The final support act was Sam Bowering, who received a reasonable reception, presumably because compared to the MC and previous act some might have considered him to be a Comedy God. Although I beg to differ with this evaluation, as his observations were neither witty nor intelligent as he spoke at length about sex and masturbation. And I am not a prude, as I don’t have a problem with observations about these topics. However, it does become a bit much when an entire set is about this and where it was merely facetious, cheap shots at humour rather than cleverly written and delivered jokes.

Finally, the MC returned once again only to break into a verbal tirade against the audience. He basically told the hecklers to “F-off.” Thankfully, Wil Anderson was ready to come onstage to save the night.

Anderson’s set instantly won over the crowd with some of his best material from his previous two comedy shows, Wil By Communication and Kill Wil. In addition, Wil’s choice of attire, a shirt with an American flag in the shape of someone flipping the bird could be considered as symbolic of the fact that he was not going to allow hecklers to overtake his show. However, he need not have worried, as he was extremely charismatic with his amusing personal stories and observations. For example, his story about being stopped by police at the Big Day Out because he appeared crooked while he searched for his missing ring, made you wish you were his mate so you could have helped him out of this bind.

Then there were the fantastic puns he delivered which derived from the observation that parents are now naming their children after large corporate brands. In print the joke is not given justice, but here is a small sample of the gag about a possible teacher getting annoyed at a class of mischievous children with strange names, and these monikers appear below in italics:

“Red spot, sit down, you’re not special! Lipton, stop jiggling and both of you stop throwing shit at Target. And Xerox, stop copying!”

Anderson’s jokes, which included beautifully scripted puns, were well received by the crowd. In addition, he mentioned that Michelle Leslie had become so paranoid about the letter E (thanks to Ecstasy and what had happened,) that she had changed her name to “Mishll Lssl.” The crowd roared laughing as Wil admitted that that was his favourite joke of the show. I also enjoyed his impersonation of Leslie telling the court she was such a devout Muslim that she had been celebrating the Ramadama-ding-dong holiday.

Furthermore, Anderson shared his quips bout his clash with Shannon Noll. He noted that he felt unfairly challenged to a boxing match because he knew Noll would pulverise him. So what was Anderson’s solution? “Why not choose something we’re both bad at… like singing.”

Add to this mix some new perspectives on the oft-discussed topic of talkback radio and its interesting litany of callers and you had a set that was pure comedy gold.

In sum, the earlier comedians forming part of the O-week celebrations were substandard and disappointing but Anderson was the saving grace who ensured his performance was a memorably hilarious one for the punters.

Event Review: Dead Caesar by Chris Taylor & Composed by Andrew Hansen

Title: Dead Caesar

Date: 3 February 2007

Writer: Chris Taylor

Composer: Andrew Hansen

Director: Tamara Cook

Actors: Andrew Hansen, Ben Borgia, Leon Ford, John Leary, Ewen Leslie, Rebecca Massey and Toby Moore.

Venue: Wharf 2 Sydney Theatre Company

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It appears that today, more than ever, there are people (read “celebrities”) who are crossing the genre divide, defying categorisation and some merely as a cash grabbing exercise (and if you don’t agree with me, look at all of the Hollywood starlets and pop tarts releasing underwear and perfume ranges.) So it was with a hint of cynicism that I originally saw the advertisements for Dead Caesar, a Wharf 2 Loud rehearsal-style play written by The Chaser’s Chris Taylor. Messer Taylor was accompanied by his friend, Andrew Hansen who fulfilled roles as composer and actor in this satirical rewrite of history.

And boy was I mistaken, as this event proved that Taylor and Hansen are talented enough to cross the television divide for a foray into theatre. The show boasted few props, no set per se and clocked in at approximately one hour, leaving absolutely no room for filler or excess fat. Rather, it proved to be entertaining and funny for all, as it had enough highbrow humour for the theatre aficionados and adequate puerile, juvenile jibes for those with penchants for pop culture.

Thus, it was a show of contrasts with the performers emerging as dark, shadowy characters in brown robes, which they soon removed in place of more traditional costumes, albeit with some colourful boxer shorts. This occurred in an all singing, all dancing spectacle and introduction to set the scene for the well-scripted and hilarious dialogue courtesy of Taylor and the expertly crafted songs from Hansen.

Hansen was also very convincing in his Sydney Theatre Company debut, as both Mark Anthony and the bumbling assistant for Brutus. He creatively used a modern guitar in place of a lute, improvised television show Thank God You’re Here and sang the best song of the entire show “Even idiots/pricks/tossers/fucking wanker deadbeats look like heroes after death.” And I will leave you to fill in the gaps of the famous dead persons and notorious living characters that were used.

In addition, the highest kudos of the evening should certainly be given to John Leary for his excellent performance of the lonely and embittered Messenger who spent a considerable portion of his time on stage ruminating about his NIDA training and the fact that he was confined to yet another role of delivering short messages to actors onstage. Later in the show he attempted to communicate a message to Barry Otto, who at the time was performing in one of the other studios. That said, the two aforementioned, standout actors did not detract from the other talented people, Toby Moore, Ben Borgia, Ewen Leslie, Leon Ford and Rebecca Massey.

In sum, Chris Taylor has written an absolute winner with Dead Caesar, whilst also cleverly depicting the works of other directors and their interpretations of the life of the famous dictator that preceded the current portrayal. If only every performer’s debut into another medium was as fun or enjoyable, but sadly this instance is an exception rather than the rule. Well done Chris and Andrew, it’s good to see that your break from The War On Everything over summer was so fruitful.

Event Review: Charlie Pickering, Michael Chamberlain @ The Sydney Comedy Store

Artists: Charlie Pickering + MC Michael Chamberlain and new comics
Date: 31 January, 2007
Venue: Sydney Comedy Store, Moore Park

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For the uninitiated, the Sydney Comedy Store is situated in a dingy corner of the Entertainment Complex at Moore Park, sandwiched between some car parks at the back of some cinemas. Yet, it is a venue that consistently provides quality comedic talent most nights of the week in a warm, laidback environment and the night of January 31^st, 2007 was no exception.

Skithouse’s Michael Chamberlain was recruited as the MC for the proceedings and the set began with performances by three new comics. The first of the three was Desh, who had a sarcastic wit and milked jokes about Indian stereotypes and society’s fear regarding security, to the utmost. That said, he did provide an interesting line about Jesus, noting that given the current security alert in airports this would most probably mean that even the Son of God would be hassled thanks to his ethnicity and beard.

The second comedian was Nick Sun and put simply, he was an angry and cynical, young man. Whilst he was amusing to listen to, he was not overly hilarious as he pointed out his unique way of relating to people at parties. That is to engage them in a discussion about his overwhelming desire to spike the water supply.

Finally, the third new comic proudly proclaimed that his former job was as a “Latte Transporter” in Sydney’s Oxford Street. He used to provide service for customers who wanted decaf, latte, Grandes with lite milk to go (that means now, junior!) The funniest of the three, he was also good at imitating a pilot running to ensure he gets the correct seat on a Jetstar flight (after all, there is no seat allocation.) He also concluded the first half with some oft-used observations about language barriers (think thongs vs. flip flops.)

After the short interval, MC Michael Chamberlain returned to add two new revelations to the proceedings. The first was that because his sister is pregnant, he proudly realised that he has the opportunity to become the “dodgy uncle.” Secondly, he noted that comedians only fair a little better than magicians in the Entertainment Industry pecking order.

Finally, headliner Charlie Pickering began his set with material taken from his Betterman and Auto shows. He impersonated his school principal who amazingly resembled a crow. He also recounted with extreme joy some memories of his 1930s-themed birthday party.

Suddenly the show underwent a slight twist as Pickering performed readings from B. B. King’s autobiography. The tome sounds like a real corker given the man uses the following as his opening sentence, “I struggle with words.”

It appears that the English language was the topic of choice for the final part of the set as he made observations about some of the moronic and choice phrases George Bush has used. Comedians have covered the words, termed “Bushisms” due to his attack on the English language ad nauseam, but Pickering mentioned my new favourite, “misunderestimate.”

In sum, the show was most enjoyable with a nice selection of comedians, each with different senses of humour and individual approaches to their comedy. It was definitely a nice sample of each man’s talent, what you could call a comedy buffet of sorts.