Best of International Comedy

Stand-up comedy is a show or performance in which a comedian performs original jokes on stage in front of a live audience to make them laugh. The jokes are scripted and have setups and punchlines. These comedy monologues are frequently self-deprecating and are based on the life of the comedian giving the audience tacit permission to laugh at and with them. The average stand-up comedy show gets four to six laughs a minute from the audience.

Modern stand-up has its origins in vaudeville where slapstick was common, but over time we have seen it emerge as a sophisticated art form. Last century saw many comedy greats who were celebrated for their patter and one liners. Think George Burns and Gracie Allen, Bob Hope, Milton Berle, Phyllis Diller, Rita Rudner and the legendary Robin Williams. In modern times, English comedy has flourished with performers like Michael Mc Intyre, Ross Wilson, Dawn French, Ronnie Barker, Miranda Hart and Alan Davies, all of whom can or could hold and entertain an audience for 20 to 30 minute without a break.

There is, of course a formula, beginning with the opening which, if the audience is lucky, has a great opening joke to get the laughter started. This is followed by what comedians call ‘bits’. Those of us not in the business, know them as ‘jokes’. These lead into conversational bridges that often seem like a chat with the audience, and finally, the final joke of the night that may be a reference to earlier parts of the set, but the finish should leave the audience laughing and possibly wanting more.

The Best of International Comedy is hosted at the Laugh Lounge. This is a quirky, welcoming and regular home for comedy in Adelaide and its central location makes it a convenient spot.

‘Best of’ shows offer somewhat of a ‘pot luck’ menu. You certainly can get everyone from the high flying, well known performers to those just testing their ‘comedy chops’ and a 6 pm performance may also have an impact on availability. The night we saw the show, the audience was small, but the venue works well, even for what feels like an intimate chat. I go to these shows in the hope of discovering a ‘hidden gem’ whose full show I can later book for. The’ International’ part of this show was created not by critical acclaim and following, but rather by country of origin.

One of the frustrating wasted opportunities for everyone is the fact that venues, this one included, never publicise, even on a chalkboard, who is or will be performing so unless the comic clearly tells you who they are, you do not know whose shows to follow up with, or avoid!

There were five acts for the one-hour show and Live at the Apollo it was not. Linking and opening the show was a man, now Melbourne based, from New Delhi. The usual commentary about Australia’s venomous snakes and spiders was included and the racial stereotyping about being Indian and confused with being a delivery person, not guest at restaurants also featured. His patter became more relaxed in the linking vignettes, but screamed of being hastily thought up improvised conversations.

A short piece was delivered by a Canadian/Pakistani female. A potentially promising piece on organ donations degenerated into sexist, explicit language, and I was surprised that a female comedian chose to top off their act by finishing with the ‘c’ word joke.

A tall, well-groomed man who hails from Africa began by discussing the infamous English language test and again, his life journey stories offered promise and relatability, but trickled off to what seemed like unscripted, linked expletives.

William Wong, who has been in Australia for 7 years, had a well scripted routine. Clever throw away lines like, “I took up smoking when I lived in China to deal with the pollution”, got well-earned genuine laughs, and his comment that “Melbourne wasn’t racist because everyone who lives there now is Chinese”, was seen as witty repartee.

The final act was a young African man who is here for The Fringe. Witty routines about visas and time zones had people laughing and the comment about America needing to have different time zones because someone has to stay awake and keep watch was planted well and got good laughs.

I struggled during the show with meandering routines that did not seem fully scripted and rehearsed. I was also frustrated with dialogue that was rushed, directed at the floor, and often unintelligible. There was little, if any use of the powerful comedy pauses that allow the audience to catch up and the themes were somewhat passé and predictable. I am not easily offended, but unnecessary expletives for lack of more interesting and entertaining words, leave me unimpressed and disengaged and this show abounded with them. I think we may have got the ‘B Team’ that night but urge people to seek out some of the many laugh out loud comedy gems featured in The Fringe.

Jude Hines

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