Olga Koch review – from Russia with love and oligarchs

Pleasance Courtyard, Edinburgh
In a spirited Edinburgh debut, the daughter of a former deputy PM of Russia tells her father’s fascinating story

Plenty of comics get good material from their parents’ behaviour, and plenty of comics talk politics. Seldom before have those species of comedy been cross-bred – but then not all comics have a story to tell as eye-opening as Olga Koch’s. She is the daughter of a provincial mayor in the USSR, briefly turned deputy PM of Boris Yeltsin’s Russia. Alfred Koch cooked up the “voucher privatisation” scheme that channelled Soviet state assets into the hands of the oligarchs. As Olga says, that’s a hell of dad fact for a teenage daughter to have in reserve when she needs to win a family argument.

Her debut Edinburgh show (she was shortlisted for best newcomer) tells her parents’ story in flashback from the time, four years ago, that her dad went alarmingly awol from his Moscow apartment. It’s part storytelling, part family album, and part Clive James on TV mockery of Russian advertising. I found those latter sections a little condescending. But given what her dad has suffered, and continues to suffer, at Russia’s hands, you can’t blame Koch – Russian-born, American-educated – for taking potshots in the other direction.

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Sarah Keyworth: Dark Horse review – tomboy tales and top-notch jokes

Pleasance Courtyard, Edinburgh
The LGBTQ+ standup twists gender into new shapes in a fringe debut that feels like a great intro to a fresh comic personality

Should we be disowning words like “boys” and “girls” – or broadening what those words are allowed to mean? Sarah Keyworth is in an interesting position to discuss the question. She’s LGBTQ+, even if she seldom lingers beyond the first letter. As a solo-show debutante, nominated for best newcomer at the Comedy awards, she’s part of generation pulling gender into new shapes. And her adolescence was blighted by bullying because she didn’t conform to stereotypes of what a girl should be.

Such is the stuff of Dark Horse – a maiden fringe hour that (as per convention) sets out Keyworth’s stall, but without a hint of navel-gazing. For that, we’ve got Roly to thank – he’s one of two well-heeled children she’s nannied for the last four years. Latterly, Roly emerges as the show’s subject and star, as Keyworth sees her mafia levels of infant confidence eroded by the pressure never to be “bossy”, far less a “slut”. Like Cora Bissett’s What Girls Are Made Of, Dark Horse is determined to let girls fearlessly be girls. Keyworth risks overarticulating the point, and there’s no need: her show could scarcely be better constructed to express it.

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Dazzling drama: the unmissable theatre, dance and comedy of autumn 2018

Gender-swapped classics, Hans Christian Andersen’s closet secrets, two giants of US comedy sharing a stage, plus Ralph Fiennes and Sophie Okonedo as rulers in love

Twenty years after they made their names, the individual members of The League of Gentlemen are riding as high as ever – with Inside No 9 a cult smash on BBC2, and Mark Gatiss prominent in practically everything on TV. But they’ve carved out time – after a screen revival last Christmas – to return to their sinister Royston Vasey-based sketch comedy for an autumn tour (their first since 2005). Gatiss promises “some old favourites, some new stuff and some sort of sequels” to the three recent Christmas specials.
At SEC Armadillo, Glasgow, 28-29 August, then touring

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The League of Gentlemen review – a brilliantly twisted return to the stage

Sunderland Empire
Exhilarating new material joins favourite vintage sketches as Mark Gatiss, Reece Shearsmith and Steve Pemberton bring their chilling creations to life again on tour

TV tie-in live tours aren’t always artistic successes. Sometimes, they’re more about nostalgia than comedy; sometimes it’s just a thousand people shouting out catchphrases. Neither applies in the case of this cracking League of Gentlemen stage outing, the group’s first for 12 years. Perhaps it’s because they clearly delineate old material, in the first half, and new, after the interval. Maybe it’s because (with Sherlock, Inside No 9, and all that) their careers beyond the League are flourishing; they’re doing this not because they need to, but because they want to. Mainly it’s because what’s on show is just brilliantly written and performed.

The first half couldn’t be simpler, as the performing trio – Mark Gatiss, Reece Shearsmith, Steve Pemberton – zip through a selection of their vintage sketches. There’s the Go Johnny Go Go Go card game with its impossible rules, the dating agency run by a woman who despises her clients, and Pamela Doove’s feral audition for an orange juice commercial. The feel is old-school: the performers wear tuxedos and there are blackouts between sketches. But the performances throb with life. There’s real hatred in Charlie and Stella’s bickering over Trivial Pursuit, real resentment when Olly Plimsolls rails against the theatre industry – and when Gatiss’s “Mordant Mick” leads us on a Royston Vasey terror tour, the twist generates real chills.

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Edinburgh award champ Rose Matafeo’s Horndog is a comedy smash

The Kiwi standup thoroughly deserves her success with an uproarious, emotionally intimate and feminist show

With the triumph of Rose Matafeo in this year’s Edinburgh Comedy awards, a sub-par shortlist has been redeemed. Matafeo’s show Horndog is another cracking show from a born comedian, a high-energy, high-anxiety New Zealander whose party-comedy mixes emotional intimacy and uproarious good fun with a thread of unshowy feminism. For me, Horndog wasn’t quite as exhilarating at its 2017 predecessor, Sassy Best Friend. But I couldn’t be happier to see Matafeo’s victory. She becomes the fifth solo female standup and the first solo person of colour to win the main award. Her win will hopefully open out her excellent and accessible work to a wider audience.

It might even boost her self-confidence, too. Ironically, given her prodigious talent – honed since she started standup as a 15-year-old – I’ve never interviewed a comedian so reluctant to speak well of herself. There’s plenty of that self-mortification on display in Horndog, which chronicles Matafeo’s barely functioning love- and sex-life. From teenage crushes on Franz Ferdinand’s Alex Kapranos via her struggles to focus on masturbation to emotional near-collapse in the closing stages, the show is a hoot. It also features a routine about sleazy male behaviour in comedy, giving it membership of the large club of 2018 standup shows with a #MeToo dimension.

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Rose Matafeo wins Edinburgh best comedy show award

New Zealander’s show about sex and modern social mores scoops top comedy gong

New Zealander Rose Matafeo has won the coveted best comedy show award at the Edinburgh fringe festival.

Steve Coogan, one of Matafeo’s comic heroes, presented her with the £10,000 prize at a ceremony in Edinburgh on Saturday.

Related: Young women are smashing it at Edinburgh as the #MeToo legacy kicks in | Rhiannon Lucy Cosslett

Related: Edinburgh award champ Rose Matafeo’s Horndog is a comedy smash

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Rose Matafeo wins Edinburgh best comedy show award

New Zealander’s show about sex and modern social mores scoops top comedy gong

New Zealander Rose Matafeo has won the coveted best comedy show award at the Edinburgh fringe festival.

Steve Coogan, one of Matafeo’s comic heroes, presented her with the £10,000 prize at a ceremony in Edinburgh on Saturday.

Related: Young women are smashing it at Edinburgh as the #MeToo legacy kicks in | Rhiannon Lucy Cosslett

Related: Edinburgh award champ Rose Matafeo’s Horndog is a comedy smash

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Larry Dean: Bampot review – cheeky, chatty, all-smiles comedy

Assembly Checkpoint, Edinburgh
Dean is a standup with the popular touch and an easy swing to his style. Just don’t go expecting anything high-concept

Wednesday was a day of ups and downs for standup Larry Dean. In the afternoon: a maiden nomination for the Edinburgh comedy award. Early evening: show derailed by a woman having an epileptic fit in the front row. Dean dealt with the incident as well as possible, but it disturbed his flow as the gig stopped, started and stopped again. At the end, I left with the impression of another solid and enjoyable set by the Glasgow man, but no advance on his previous work. On other days, he may make a stronger impact.

The show was intended, Dean tells us, to be a celebration of loved-up life with his Australian boyfriend. But that relationship ended just before the fringe, so – one hasty rewrite later – we get a set ranging across his childhood, family, sex life and recent breakup. Much feels familiar from previous shows: the blokey take on his homosexuality; his hoity-toity mum; jokes about his Catholicism. My heart didn’t exactly soar at the routine about masturbating in a public toilet while someone is pooing next door. Another, about fellating a slimmer with “excess skin”, is no more high-minded but comes with a choice word-picture (“I felt like one of those Victorian photographers …”) to recommend it.

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Tessa Coates: ‘The funniest TV show? The Royle Family’

Writer, standup and member of sketch group Massive Dad on the things that make her laugh the most

Eddie Izzard. He’s wonderful now, but the really early stuff is something else: babies on spikes, le singe est dans l’arbre, cake or death, Agatha, Bagatha and Tabitha. Oh, he’s the best.

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