Dead Funny by Terry Johnson - a reflection.

Playing Nick in the Lace Market Theatre's production was a hoot from start to finish with some superb direction from the director Pat Richards.

 

 

 

At the time of rehearsals we pondered whether Dead Funny will work quite as well, decades down the line, as the bygone comics like Benny Hill and Frankie Howard fade from memory, but written against this tale of collective obsession and of crumbling marriages we did find it very, very funny. It was particularly funny at one rehearsal up in the top room of the theatre when Dave Bilton was doing his opening 'naked' scene with Beverley Saint as his frustrated stage wife and a potential new member was being shown the building and ended up being shown a naked man stretched over four chairs with his stage wife kneeling before him! We think she joined.

Set in Easter 1992, Terry Johnson’s tragi-comedy centres on a group of hero-worshipping neighbours, fixated on British comedians of music-hall tradition. Benny Hill has just died and the dwindling numbers of the Dead Funny Society prepare a wake. Gynaecologist Richard (Dave Bilton) is as indifferent to his wife Eleanor’s obsession to give birth as she is to his with dead comics. The unease of their relationship and that of other relationships is implicit throughout the play. Brian comes to tell Richard, as the chairman of the Dead Funny Society of the death of Benny Hill and he interrupts a painfully comical attempt at sexual massage.

Brian and Richard decide to hold a celebration of Benny's life the following Wednesday and invite the other members of the Society. As the party progresses the mood darkens as the tension and revelations of the various relationships come to light. Custard pies and sausage rolls are thrown and I got to empty a bowl of trifle over Dave's head every night! All this in reaction to finding out that my baby is not my baby at all but fathered by Richard.

Another unlikely catalyst is the gentle neighbour Brian who 'comes out' during the evening's entertainment and was a superb performance of inner pain coupled with superb comic timing by Malcolm Wilson in the Lace Market production in November 1999.

 

 

It is an hilarious comedy, needs brilliant comic timing, the ability of the cast to recreate classic comedy sketches and participate in frantic custard pie fights as the tragedy unfolds. Plus a great backstage crew adept and cleaning up the mess every night. As the main thrower of food stuffs I was told to be very careful not to get any on the borrowed furniture. The medical torso was hired for £23.50 for three weeks.

 

 

                                                                     


I particularly enjoyed the scenes during the 'Dead Comedians' celebrations where we performed the comic sketches like Morecambe and Wise's “Boom -ooh – ya -ta-ta”, the 'in the box' sketch of Jimmy James and the impersonations of Frankie Howard, Max Miller and Tony Hancock. I remember that we worked very hard at the comic timing including some word rehearsals at Dave's house at the latter stages. Great fun!

 

Review from Philip Ball (Nottingham Evening Post)

Darker side of comedy

Dead Funny

Lace Market Theatre
Philip Ball

Pat Richards has brought together a hard working cast to provide the impersonation needed to carry Terry Johnson's play.

They are all members of the Dead Funny Society who gather together in homage to the legendary Benny Hill, Frankie Howard, Jimmy James and Morecambe and Wise. The comic routines are brilliantly done but Dead Funny has a deeper and sharper tone.

Adult audiences will not be disappointed as observations on sexual attitudes are explored with wit and perception. The cast run through familiar routines whilst conveying the angst between their characters.

Malcolm Wilkinson has the best lines as Brian on the edge of the divided relationships between Richard (Dave Bilton), and Ellie (Beverley Saint) Nick (Phil Lowe) and Lisa (Melanie Gallie).

Trying out a stand up comedy set

Last Wednesday I took part in a 'Tesco's Got Talent' competition in a semi final at the conference suite at the Leicester City Football ground. I had already won a preliminary round in my current workplace with a stand up routine about butcher's shops and the meat and fish counter at Tesco.

Tesco have very strong guidelines about being rude about customers so the observational comedy I devised and wrote was more about the joke being on me than being about the customers really.

The set comprised of two jokes about butcher's shops ( themes were a cheeky rabbit and an intelligent dog) then I moved into observations about me being able to speak a bit of three languages namely French, German and Chinese. I went on to explain that we have a lot of Chinese customers and that they appreciate my attempts to be polite and I demonstrated that and then went into mock Chinese as I demonstrated verbally what I could do to their sea bass. The joke was on me as, after a lengthy explanation, it turned out they didn't speak Chinese.

Then I told the audience a true story about a strongly accented customer who said that he wanted "To piss" and that my colleague Paul was attempting to show him where the loos were. It turned out he wanted 'two piece' of salmon.

For the final part of my act I told the audience that I do the counters' announcements on the mike at work and that I had a fantasy that the Daleks had opened a branch of Tesco and I wondered what the announcements would be like. I do a good Dalek impersonation and proceeded to do three Dalek calls echoing subjects that normally happen in the supermarket.

I had woken up early (3am) the day I was due to perform and had some funny ideas that I wrote down but later in the day decided it was best to stick with the routine I was familiar with rather than adding new material last minute.

On the evening of the Tesco's Got Talent gig, I followed a young woman (No! not that kind of followed!) who was on first doing a dance routine. I was on second. Another twenty three acts were to follow, mostly singers.

The conference room was very wide and the stage was a temporary, poorly lit affair in the middle of the room by the back wall. I was confident in my material after some rehearsals at home and I found that I had to compete with a lot of chat from the tables whilst I was performing. It wasn't like the theatre or a comedy club where folk go quiet and let you entertain. I didn't let this put me off and used my skills to get the attention from the audience, the most important ones of looking and sounding confident and eyeballing each section of the audience and the judges as I spoke so that they all felt included. I got some laughs (always good for a comedian!) and the material that went down well was the Chinese language section and the Daleks in Tesco material.

The judges said that I had done very well with writing my own material, the timing of the humour and the originality of my act. I wasn't the outright winner but I got a trophy for my efforts, a fun night and a few beers and some food. The experience has made me think about doing an open mike slot at a proper comedy club sometime where people actually go to see and listen to the comedians rather than chit chat about their social lives during a set.

Sarah Milican has a big new fan - me!

I'd heard of Sarah Millican the award winning comedian and perhaps caught glimpses of her in the press but had never seen her live or even on DVD or telly until a friend recommended that I take a peak at her latest DVD Sarah Millican Live– Thoroughly Modern Millican. Ohhh! I have never laughed so much flower!!! The Telegraph describe her as “Supremely talented” and The Observer says she is “A Distinctive Blend of Northern Charm and Utter Filth”

 

 

I love stand up and this fantastic lady totally did it for me. There is obviously a lot of hard graft over the years and astute writing skill gone into her keenly funny and off key observations and she appears now to be at that seemingly effortless stage and gloriously rude. There is certainly a lot of effort that goes into this level of effortless. I enjoyed her knowing giggle and the way she commanded the stage and had the audience lapping up every ribald word and gesture.

For those who are interested in how she caught the stand up bug there is a great one page interview in the Radio Times 16th-22^nd February edition. On the DVD there are some great extras including:

• Sarah's Rider

• About me

• About my comedy

• Stairlift us up to where we belong (BBC Radio 4 monologue recorded live at the Edinburgh Festival)

• Sarah Millican's Support Group (First episode of Sarah's BBC Radio 4 programme).

• There is also a sheet inside the DVD case listing all her tour dates in 2013.

In the 'About my comedy' DVD extra she says that one of the key elements of getting on in the comedy world is to be nice to people along the way and always carry a notebook for the 'gold' as a comedy writer. She also says that she records all the shows she does and analyses them to improve her act. She said it is the only was to do it as you never remember all of the things that go well when you are 'in the moment'. The DVD and Sarah Millicant Chatterbox is available through this link below to Amazon. I believe that I have become a very big fan!! Or as Sarah might say “ A fucking big fan pet!”

 

      

Michael Caine's brief encounters

This is the first of a series of funny videos that I am filming for Youtube. Although I do a passable M Caine impersonation the idea is to create some funny moments through improvisation. This video took five goes until I was satisfied with it... and not a lot of people know that.

Developing my writing

I am currently researching for more information on the world of butchery for my proposed book "Tales From The Block" as well as developing my comedy writing by creating pieces for Youtube and other comedy formats.

I seem to have a surreal sense of humour influenced by Monty Python, The Goodies, classic TV series such as Steptoe and Son and others broadcast in the 1970s. These were my teenage years and the years where I started to realise that I could make people laugh. Then came the Canadian comic Kelly Monteith with his observational comedy sketches whose show I used to love.

I was never a fan of the traditional stand up comic like Bernard Manning and similar comedians. My sense of humour was rather in the style of Not the Nine O'clock News and further comedic adventures with Rowan Atkinson as Edmund Blackadder. I saw Jasper Carrott in his early days at Derby Playhouse and followed him throughout his career.

Then along came the clever American humour of Third Rock From The Sun and the hit TV show Frasier. I was also influenced by the styles of Woody Allen and his films and somewhat by the corny style of the Mel Brookes films such as Young Frankenstein and Blazing Saddles.

These days I am a fan of the Black Books series, Father Ted, Eddie Izzard and Bill Bailey.

A short video of the first part of A Chip In The Sugar.

A short video of the first few pages of A Chip In The Sugar by Alan Bennett.

Rehearsing A Chip In The Sugar

Rehearsing ‘A Chip In The Sugar’ written by Alan Bennett.

At the moment I am two weeks into my ad hoc rehearsal schedule in learning Alan Bennett’s ‘A Chip In The Sugar’ monologue. My pet name for this foolhardy project is ‘Chip’ and it is going to Germany in May alongside another short play called, ‘The Typists’. In my enthusiasm to perform, I blithely ignored the realistic fact that this humorous and pathos filled theatrical piece from Bennett’s original Talking Heads TV series  is actually sixteen pages long and forty minutes in performance on me tod!!!  Proverbial light comes on when Phil realises a monologue is one person talking! Alone! On stage! Without a script!

In this case, the monologue has the main character of Graham, an older gay man with mental health problems, living with his elderly mother who has met up with an old flame, a Mr Frank Turnbull , and is courting him despite her own problems with a failing memory. I have chosen to use differing voices for the various characters in the storytelling unlike Bennett who originally played Graham himself and all of the other characters with his own iconic voice. Both work equally well in performance and the writing is undeniably Alan Bennett in style; laconic, Yorkshire through and through and witty, very witty indeed, and also full of understanding for human frailties.

It is a joy to try and learn and even though there are lots of ‘she said – he said - Mr Turnbull/Mother saids’ liberally scattered throughout the piece they are a part of the rhythm of the theatrical writing and though these interjections seem odd  to an actor, at first, they actually work very well. They help create a rhythm, a pace and a balance.

Like any comedy, a lot of the performing does rely on being aware of where the laughs/chuckles are likely to occur and whilst rehearsing I have left a short space after the punch lines to practice, albeit sans audience, the art of remembering the pick-up lines or the proceeding passage and story development. To help me with the rehearsal process I have recorded the piece with my Dictaphone and put it on a CD to play again and again at home and get me used to the story and the pace of its’ telling. I have also kept a copy on the Dictaphone itself to listen to during the day via a set of headphones.

Consequently, I think that I am now the official ‘nutter on the bus’ who mutters to himself on the 6am Indigo bus to work each morning.  I am even getting brave and almost talking the script out loud as I walk the streets of Nottingham. I can almost imagine folk looking out for the ear piece and mobile connection. "Surely' he's talking to a friend on his blue tooth jobby. except he hasn't got a blue tooth jobby. Mavis, call the cops!"

Alan would be proud

I am often tired after a day’s work and don’t always feel inclined to spend the evening rehearsing and getting frustrated with myself because the lines aren’t coming out right, so I rehearse as and when the energy or enthusiasm is with me. I am enjoying the rehearsal process and the humour of the piece so I do try and find time to devote to learning it. The fact that I really need to be ready by the end of April (my deadline) spurs me on. Come June I will look back with astonishment that I managed to learn it all and perform successfully in Karlsruhe!

The script itself has a lot of repetition throughout and it is easy to find oneself verbally leaping on to another section in the story so concentration is paramount and doing one’s best to be true to every word and inflection helps build confidence in the piece. Without sounding immodest I often give myself a mental ‘slap on the back’ when I think that I am getting stronger in the recalling and performing without the script in front of me. Any actor would agree that these moments of freedom from eye-balling  or gripping on to the script are scary but also very satisfying part of the rehearsal process.

I mark up the script itself to remind myself of my own verbal errors (the odd word wrong or slight paraphrasing) and to illuminate links from one ‘idea’ within the storytelling to another. A good example of this last notion would be that Graham mentions his mother sitting on the cold pavement and in the next breath says, ”Come on Mother, we don’t want piles!” The link being that a cold bum might give her piles. The additional fact that pile and pavement both begin with P helps to cement the script memory too. Additionally, I often try to visualise the scene like a mini movie in my head and find this helps and I am prone to making little drawings in the margin to remind me of the thread and order of the prose.

At this stage of writing this up (mid March) I am confident in the first six pages. Only ten more to go!!!

A Chip In The Sugar

The Lace Market Theatre are taking three plays to Karlsruhe as part of a twinning arrangement in May. They are Hedda Gabler, The Typists and A Chip In The Sugar. The Alan Bennett piece (Chip) is a late entry offered by and performed by myself and I have about ten weeks rehearsal to learn sixteen pages of monologue.

I started three days ago and have the first two pages secure. The script is very well written and mostly chronological in the story telling and relatively (ahem) easy to learn. Saying that there are several characters to deal with as well as the main character, Grahame. For an actor this is a gift.

A CHIP IN THE SUGAR

My own poster design above shows Grahame nervously looking outside the house as he feels 'someone' is watching the house.

Later in the rehearsal process I'm going to have to rehearse this with a director/overseeer to cement the work and get used to pausing and picking up dialogue where the laughs are and there are many laughs in this piece.

I am already muttering the lines to myself at any given moment, on the bus, in the street, under my breath at work. Fun times.