JOHN RYAN: STUPID MONKEY!
Blokes and their bad habits O.
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LEE MACK
Pure, accomplished stand-up COO.
lhe xulee sketch which ripened l ee Mack's shnv.’ t7lll()lll(illlltllllf3 salad year as Britann's llllltl hest seven-year (tltl (Ti)lll(?(l|£lll —- was less traditional than the rest
Don’t have a cow; or get a ticket
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NATALIE HAYNES: STILL NOT SORRY
Trivia and dead baby jokes 00.
She's a lovely lady. Natalie l'laynes. (lespite her hest etinrts in [)l()\.(? ether‘tvise. She's (:heen'. sell (lenieeating a<l (leesn't falter even when the laughs (len't H)” the way they E3ll()lll(l. Her shot-x moves sezunlessly a<:r'( ss a myriad of
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36 THE LIST FESTIVAL MAGAZINE ‘j— ‘ :3 A“; .I
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YA‘I‘ ' 'A A I!» A'” ' ’t ’ .' "A A , A ’, A I’f
THE AWARD WINNING ROBIN INCE: STAR OF THE OFFICE, SERIES ONE EPISODE FIVE (FIRST BIT)
Hit and miss showbiz history 00
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UNITED BISCUITS: HIGH TEA
Sick, slick. slack sketches 000
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NEXT ISSUE OUT
MY LIFE AS A TEN-YEAR-OLD BOY
THE CONGRESS OF ODDITIES
Freakish Victorian fun
'I ; r4. , ‘l A A ’ l i- I LI .,: full. f A' I </ n
Not awesome Simpsons history 0
THROUGH IT ALL I’VE ALWAYS LAUGHED Doncaster don's big day out 000
I '
FAULTLESS AND TORRANCE: THE SNAG
Double act high on lacklustre naivety
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What’s likely to be one of the most commercially successful shows of the Fringe is an utterly shameful piece of self-promotion. Nancy Cartwright may have proved herself to be a voice-acting genius with her rendering of animated brat Bart Simpson, but her one-woman show truly sucks. Ostensibly autobiographical, My Life As a Ten-Year-O/d Boy proves to be a craven exercise in ego fondling. Aside from the wholly underwhelming revelation that Cartwright's career originated with a childhood talent for producing sound effects with her voicebox, very
little else is revealed.
Instead, Cartwright works through a series of boastful anecdotes, including Simpsons guest star Meryl Streep asking Nancy for HER autograph and, most sickeningly, a story about a terminally ill child being granted a stay of execution upon the fulfilment of his wish to meet the voice of his favourite cartoon character. As befits a rampaging ego, Cartwright has no connection with her audience. Her delivery, more accurately a reading from the script, sounds like a schoolkid reciting an essay, while the punchlines of jokes are followed by prompts for
audience applause.
Cartwright even has the gall to bemoan the fact that she doesn’t own the rights to her own, meaning Bart's, voice. That, you might argue, correctly belongs to Simpsons creator Matt Groening. One for the hardcore fans of the television show only, even those die-hards are likely to quickly tire of the novelty of watching the diminutive Cartwright shout,
‘Awesome!’ Something this sh
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ow is most certainly
not. (Miles Fielder) , ,. "'.";l."