THE LEGENDARY POLOWSKI MURDERS Murder, mystery and moronic bobbies O.

InCident room comedy With Inspector Savage (Phil Brown) and Sergeant Mild (Gareth Tunley). These two were a big hit in 2000. God knows why. This is like watching two adolescents playing at cops and robbers for a very long hour.

All the obvious IOLichstones are in place 70s cop series music. skits from the film 7even. drawn out parodies of Prime Suspect-style procedures and a t0uch of the John MalkoVIches to make the villain sounds ominous and Sllly.

Only the occasional adlib and Brown's turn as a camp voice specialist really radio in the laughs. Hand in your badges.

(Paul Dale)

I Pleasance Dome. 5:36 (5:350. until 26 Aug (not I3). 9.30pm, £‘8—-£.‘l() (EV—£19}.

JASON JOHN WHITEHEAD Tight observations from chilled Canadian .0.

What strikes yOu first about Jason John Whitehead is his shock of dreads and bandanna emblazoned With Maple leaves (just like every Canadian. desperate not to be mistaken for an American). He's

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ADDY BORGH

Voices originality without conviction .0.

They say hearing voices in your head is a sure-fire sign of madness. Talking back to them, well, pseudo schizophrenics have been locked up for less. Talking about them to a room full of voyeuristic Fringers is genius - or at least it had the potential to be in the hands of Addy Borgh.

In Hearing Voices, Borgh introduces the characters rattling around in his mind. Like Temptation Voice: the motivation behind hair of the dog. Or Procrastination Voice who pops up in day-to-day situations and Overly- sensible Voice who doesn’t appear nearly enough. Each of these characters pave the way for Borgh’s intuitive, oddball take on life’s little idiosyncrasies.

Hearing Voices should be the perfect antidote to the ambivalence generated by repetitive stand-up. It’s observational but unconventional, obvious yet stimulating. An inspired idea, Borgh somehow lacks the conviction, and belief, to follow through in the execution. Borgh is easily at his best when he’s spiralling madly out of control, humanising keyboard characters and conjuring up library book personalities, going off on tangents exploring our little fears and foibles.

Unfortunately, the performance and fluidity isn’t always there. At times bewildered by the merest noise from the audience, any transgression from pre-written material disrupts the pace and leaves Borgh floundering. That said, the inconsistency is redeemed by moments of brilliance in which Borgh weaves a comedy web that’s as intricate and detailed as it is original. Trust me, you will never look at a keyboard in the same way again. (Maureen Ellis)

I Pleasa/ice Dome. 5:36 (55:30. until 26 Aug (not 20). 8.20pm. £‘8.5()~i_‘9.:3() Il‘8—5‘8.:3()i.

instantly likeable With an muggings. it has a ’l l I 'lJl easy going manner and tendency to feel very

a last selection of samey. Thank god he . I I i i j; v f j~ = M n - i i; ( y ; digestible observations comes across as such f z: :l l.‘ i N ‘i l

from his four years at the Fringe. His whole routine Is based on comparing the UK to the infinitely more laid- back Canada. While this has some hilarious moments. in particular his tales of inept

a nice guy and v0u can't help falling for his Wide—eyed stoner Charm.

(Henry Northmorel

I Pleasa/ice. 5:36 (5550. until 26 Aug. 9.45;)m. lTS)—-5‘l() ll (SB—£19).

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in: . THE LIST FESTIVAL GUIDE 29