g._ ,. ‘. SUPERHORNY The Fringe's answer to a nice warm mugof ()valtine has returned for his seventh season. The 1989 Earl is slightly more solemn than the frisky youth of yesteryear. He even indulges in a spot of (welcome) musical criticism ofthat bastion of self-gratification Live Aid. But there's still no-one better to convince the Sadowitz-stained amongst us that the world isn't so bad afterall. (Philip Parr)

I Supernomy(Fringe) Earl Okin. Fringe Club (Venue 2). 226 5257. Until 28ept.8.15pm.£4.50 (£4).

IAftemoon CrumpetWith Trumpet (Fringe) The Pleasance (Venue 33). 556 6550. 17—20. 24—27 Aug& 31 Aug—2 Sept. 3.35pm. £4 (£3).


Scuffed Shoe Jazz make a wonderful sound. They switch from Trad. to R&B. to Calypso. to Popular parody with effortless panache and they‘re witty with it. too. Australians. football hooligans and train drivers all come in for some very slick comic abuse.

However. their assaults are all rather one-sided. For chaps with such well-clipped accents. the upper classes get a remarkably comfortable ride. The gags work best when dovetailed with the music. Highlights for me were their British Rail passenger announcements. and an extremely anti- Antipodean reworking of the Neighbours jingle.

Expect a cocktail of superb jazz and public school humour. You'll find plenty more adventurous and imaginative cabarets on the fringe. but you won‘t find a more adept one. (William Cook)

I Scutted Shoe Jazle

(Fringe) Scuffed Shoe Jazz. Pleasance (Venue 33) 556 6550. Until 27 Aug. 6pm. £3.50 (£2.50)


The French Revolution as you‘ve never seen it before. as long as you didn‘t see The National Theatre ofBrent on the telly a month or so ago. I suppose that it was likely. given the infinite number of shows glorifying. condemning or mocking Robespierre and his amis.

that two groups would

both hit on this kind of

retrospective. As with

Brent. two men play every

role from Louis to the Paris Mob and props are. at best. minimal.

This show frantically whisked us through the events at breakneck speed apart from the occasional pause for an action replay

. ofthe more gory bits. The . pace of the performance

leads to it only lasting

about forty minutes. but

it's forty minutes of sparklingly original. anarchic hilarity. (Philip Parr)

I See Hitlist for venue details.


y '8 \‘S







[don‘t care how many people I offend. I‘m going to say it accordions are funny. This is quite useful to cabaret artistes such as Nina Peterson. She doesn't actually have to say anythingin orderto set off a round of giggling in the audience one little squeeze on that box and they‘re off.

When she does open her mouth. the giggling increases. She has that rare gift of appearing tobe a complete innocent, singing ofthings which she doesn't really understand but knows are a bit naughty. The coyness increases when she seems genuinely overwhelmed at the applause which closely follows the end ofeach song. Ultimately. you just can't help loving her. (Philip Parr)

I Fonunatl Presents (Fringe) Nina Kareis Peterson. Calton Studios (Venue 71). 556 7066, until 2 Sept. 12.05am,£4 (£3).


In a sparkling concoction of witty songs about sex and songs that are witty and about sex. the Panies are once again tickling their audiences pink down at the Pleasance. The thematic repetition is forgivable thanks to the charm and exuberance of Reg Mueros. a miniature blend of Steve Martin and II 0

John lnman. who takes great delight in some awful rhymes. Musically they are as sharp as ever and they have even added a couple of new songs for their regulars. Though their songs hardly make them the voice ofthis generation. they have a lot to say about the procreation ofthe next one. (Ross Parsons)

I the Panic Brothers Hold Their Own (Fringe) Pleasance Cabaret Bar (Venue 33). 556 6550. until 2 Sept. 7.05pm. £4.50 (£3.50).


Two crinoline coated women‘s institute lecturers by the names of Olivia and Audrey. guide us through the lives. loves. passions and rampant tuberculosis of the Brontes.

Emily and Charlotte are shown at work. play and on the moors the desolate. windswept. moors. This is a passionate homage to the authoresses whose works ranged so broadly as to encompass tales of tragic unrequited love (and passion) and tales oftragic requited love (and passion).

Lip Service manage to exude a constant stream of laughter out ofan audience ofex-GCSE students intent on finding the truth behind what their English Lit. teachers told them. And what insights we receive -— the conception of Jane Eyre; how it really happened. the enormous influence on the sisters oftheir wrinkled old housekeeper and the true story ofthe sister's ultimate fate are all performed with consummate style.

If you thought you‘d never see wit at the Fringe again then go and see these unlikely stars ofthe stage your faith may be restored. (Philip Parr)

I Withering Looks (Fringe) Lip Service. Marco‘s Leisure Centre (Venue 98). 2297898. until 2 Sept. 7.45pm. £4.50 (3.50).


These meetings ofthe Sheffield Pensioners Liberation Army Faction masquerade as Fringe shows in order to disseminate radical Marxist-Leninist ideas about Youthenasia (sic). Death Grants and flower-arranging. Betty Spittal. in her leftist comic monologue. paints a charming portrait of grotty. gungcy. Tinniswoodian Northern England. Linda Smith is a fluent and excellent comedienne from London. and their combined show is a delight. Both women. in their very different ways. have extremely active comic imaginations and wickedly cutting observations to make about British politics (amongst other things). Wholeheartedly recommendable. (lain Grant)

I Betty Spinal and Linda Smith (Fringe). The Comedy Boom (Venue 67). 5560499. 15 Aug—2 Sept. 7.30pm. £4 (£3).


To play in front of six OAPs and three reviewers. dotted around a large auditorium must be a thoroughly dispiriting experience for any solo performer. However. sympathy should not obstruct the candidature of Hi- Tech Henry '3 Luncheon Cabaret for a

List Lemon award. Focusing on the suspect motives of a corporate raider who. amongst other things. peddles pesticides for an agroconglomerate. the show’s limited strength lay in a clever use of financial services‘ vocabulary. Where this one-man production goes awry is when the occasionally perceptive monologues by Hi-Tech Henry are followed by barely competent singing and a number ofother absurd characterisations. such as Sister Sarah. the Under-Cloister Nun. With ruthless editing. this show could be saved. The central theme is actually quite appealing. Perhaps Peter Finch‘s performance in the film. Network. could give the author inspiration. (Mike Wilson) I III-Tech Henry's Luncheon Cabaret (Fringe) Rob Inglis. Tic Toc at Marco‘s (Venue 98). 229 7898. until 2 Sept (not 20). 12.45pm. £3 (£2).

KISS MY MATE Back for their second year at the Fringe. the Footlights Cabaret duo liven up that in-between time ofday before the serious drinking has begun. A rather subdued audience too sober perhaps gradually warmed to this manic. ugly-looking pair as they whizzed through a lightning series of sketches. some more successful than others. The political sketches English cricket/South Africa. the Poll Tax though topical. are not nearly so confident or polished as the rest of their routines. Best are those bordering on the surreal Andy's Weetabix trick being memorable

and the pair have developed a nice line in weird badinage. Some of the material is derivative: there‘s a strong sense of deja vu with Harry [infield , (‘We‘re Northern i comedians and we‘re HARD’)and Mel & (iriff as they swap desultory stories (‘sell the carpet off your back').

But they are hilarious nonetheless and a good few involuntary squeals of laughter escaped my sober lips. Catch them ifyou can i and brighten your mood for the rest of the night. (Lily MacGillivray). ; I Kiss My Mate: Footlights ; Cabaret Duo (Fringe) l

National Student Theatre Company. Tic Toc at Marco‘s. Marco‘s Leisure l Centre (Venue 98). 229 | 7898. until 2 Sept (not 20). l 6.32pm. £3.50(£2.50). l


Jo Brand ‘the sea monster‘. as she flatterineg bills herself is as funny as she isfat. and she is very funny. Since much of her humour derives from being fat. she will not dispute this. Kevin Day is stocky. and not cut out to be a soft-porn model. but also very funny. The appeal of his earthy irreverence is enhanced by the freshness of his material. none of which I recognised from last year. Michael Redmond is tall and thin. and has a moustache which lends his mouth a perpetual downturn. His appearance is matched by downbeat. doleful delivery Irish wit in the old tradition. timed to perfection.

As stand-up comedians. all three are as good as anyone you'll see on the Fringe. In this show. however. they are trying something different. Perhaps with an eye on television talent scouts. they have strayed into the minefield ofSketches. It works. but only just. The jokes are funny. but sometimes predictable and hackneyed. and momentum tends to go astray. The second one of them steps forward to perform a few minutesof stand-up comedy. the show picks up. so at the risk of trampling experiment and innovation. I suggest they stick to that. (Andrew Burnet)

I See Hitlist for venue details.


This company has an uncanny knack of shooting itself in the foot. ‘Thisis ridiculous' announces the sex interest. I was inclined to agree. ‘Nobody‘s clapping‘ remarks her counterpart. We weren't. and I didn't. ‘We can‘t finish like this‘ protested another. But theydid. Doppelganger Aircraft

The List 25 31 August 198915