Schmigadoon! is free to deliver real pleasures of old-school American musical comedy: catchy melodies with clever lyrics, laughs on the regular, a little romance and a large cast of seasoned pros in big, joyous production numbers.
Fallen Angels, a sort of proto-Godot, features two society women drinking themselves into a stupor while waiting for an old lover, showcasing Coward's sexual frankness and humor.
Richard Gadd set fire to that safety net by dramatising his own experience of being stalked, along with other, even darker moments of victimhood, with an honesty that was transgressive.
The world premiere of a new musical adaptation of Ridley Scott's '90s feminist thriller Thelma & Louise is set to run at the Young Vic from September 3 to October 24, featuring a book by Callie Khouri and songs by Neko Case.
In the end, a comedy show leaves you with a feeling that tells you whether it worked or not. The general feeling... will be that the inaugural episode of Saturday Night Live UK did work.
If City Center Encores! was originally founded as a kind of musical-theater seance devoted to raising the dead, or at least the long-forgotten then High Spirits is about as literal a mission statement as you could ask for. The rarely revived 1964 musical opens with a seance and arrives at City Center like a theatrical ghost itself: long unseen, mostly forgotten, and faintly glowing with the promise of pleasures from another era. That alone makes High Spirits worth summoning.
I wanted to mention Kenneth Williams because he was so profound, Allen tells me. And yet, because he was also funny, that profundity hasn't been acknowledged. As a child, I connected with his outsiderness. Rather than trying to fit in, he went in the opposite direction. Not only did he not apologise for being different, but he was queer in every sense, truly at odds with the world in which he found himself.
It's his sort-of coming out story imbued with the trauma of losing his mother Amy to ovarian cancer, told via a 2000-slide PowerPoint presentation and finished off with a genuinely impressive magic trick (Sharp was a childhood magician). On the subject of finishing, it's an abundance of sordid sex tales that fill the gaps between Sharp's god-fearing childhood in America's south, and his mother's crushing death in 2010.
Ever feel like a LOSER? Beaten down by capitalism, the housing crisis, and little hope of getting ahead? "brilliant, well-observed character comedy" - Stage Whispers (Australia) Meet one Aussie bloke who can relate... He's crass, chain-smokes, blows his paycheck on KFC and Marvel tatts and stumbles into knife fights. This is Big Mike - a wiry, heart-on-his-sleeve barista with big plans, good intentions and a magnetism for tragedy.
London's critics are not unanimous in their praise (but that's nothing unusual). The Financial Times suggests the play occasionally gravitates into "cultural grumbling" when it tackles modern issues such as cancel culture and university politics, and argues that the material feels more reflective than razor-sharp satire. notes that while the humour "simmers gently," its plotting is uneven and its engagement with contemporary politics sometimes feels cursory rather than incisive.
He would refer to his father as ce salaud bourgeois (that bourgeois arsehole) and he delighted in telling me the story of being thrown out of school aged eight because he punched the gymnastics teacher who was trying to instil discipline into young boys by turning them into military martinets. Of the professions and attitudes that merited his ire the military, the church, hypocrisy, sham, inauthenticity, politicians, academics and fascists collaborateurs had a special place in his heart.
The Shitheads is part period piece, part family drama and part allegorical epic. It unfolds at some time in prehistory (10,000 - 50,000 BC, to be exact). Nomadic hunter-gatherers coexist with a family of cannibalistic cave dwellers who justify their eating habits by dehumanising their human prey. Hunter-gatherers are 'shitheads', they say - inferior, stupid, without expansive interior lives. One of these cave-dwellers, a straight-talking fighter named Clare (Jacoba Williams - Vera), meets Greg (Jonny Khan - Statues), an endearing, simple-minded gatherer.
'Write what you know' is a familiar maxim for novelists. Perhaps this is why, when Dostoevsky was faced with the challenge of writing a novel within 30 days, he wrote The Gambler. He, too, like his protagonist, was addicted to roulette and was no stranger to debt. In fact, the novel writing wager was a high-stakes venture. If he failed,
From Yes Minister co-writer Jonathan Lynn comes I'm Sorry, Prime Minister - the final act between Jim Hacker and Sir Humphrey. Jim Hacker (Griff Rhys Jones) is back - older, no wiser, and still gloriously out of his depth. Dreaming of a peaceful retirement at Hacker College, Oxford, Jim instead collides with a very modern nightmare: being cancelled by the college committee.
I was a smiley, happy child. I've had cerebral palsy since birth, so I've never known any other reality. At three years old I went to a disabled nursery connected to a disabled school, and I remember thinking, Why am I here? At the end of the day, the teacher brought my parents in and said, Rosie should be in a mainstream school.
They are exploring the nature of comedy and standup as a response to being a Palestinian now. This documentary follows the group as they attempt to put together a national tour, with shows in Ramallah, Nablus, Haifa, Nazareth and Jerusalem. In so doing, they encounter the basic problem of struggling through roadblocks, and sheer dismay and horror at the wholesale destruction of the war between Israel and Hamas.
Anyone who spends untold hours surfing the Web for humorous content will eventually find the work of one Vladimir Shmondenko, a prankster who goes by the name Anatoly. He's developed a faithful following, and, as far as I can tell, makes a comfortable living entirely from his TikTok and YouTube videos.
For Monty Python fans, this stuff is ageless and forever witty. The show opens with an in-joke for true fans—a narrator announces that the show is set in medieval England, but then the lights come up on the ensemble doing a song about Finland, 'The Fisch Schlapping Song,' complete with prop fish and slapping, which is framed as a brief misunderstanding.
Welcome to Hecklers Welcome!, San Francisco's only stand-up show where you get to talk back. This is not your average comedy night-this is a full-blown verbal brawl, where comics come ready to spar and the audience gets a license to heckle. Got jokes? Bring 'em. Got beef? Air it. Think you're funnier than the pros? Talk back and find out.
Welcome to Hecklers Welcome!, San Francisco's only stand-up show where you get to talk back. This is not your average comedy night-this is a full-blown verbal brawl, where comics come ready to spar and the audience gets a license to heckle. Got jokes? Bring 'em. Got beef? Air it. Think you're funnier than the pros? Talk back and find out.
Welcome to Hecklers Welcome!, San Francisco's only stand-up show where you get to talk back. This is not your average comedy night-this is a full-blown verbal brawl, where comics come ready to spar and the audience gets a license to heckle. Got jokes? Bring 'em. Got beef? Air it. Think you're funnier than the pros? Talk back and find out.
A romcom fanatic, Foxx didn't quite get the quaint four-bedroom apartment in Bloomsbury he assumed he'd land when he moved to London, but he did, at least, get the guy: a tall, fit rugby lad, just his type, he tells us. Yet after several years of sort of bliss, sort of reluctant mothering on Foxx's part, the Julia Roberts meet-cute fantasy crumbled.
