Dissecting the Fringe:
Edinburgh Diary
Sunday 9th
Since at least Monty
Python, a criterion on which sketch shows have been assessed has been their
formal inventiveness. Four years ago The Pin, a freshly-minted ex-Footlights
troupe, offered a baroque twist on what was once a formal novelty, the idea of
developing an overall narrative through a series of sketches. In their case,
the sketches not only formed a narrative, but were presented in reverse order
in such a way as to reveal how each situation was set up by previous events. It was undeniably clever, but it wasn’t
clear if the chronological trickery added much by way of humour.
This year’s model, Ten Seconds with the Pin, marries formal invention with a running theme
of explaining the mechanics of sketch comedy to the audience, and crucially,
both elements have been precision-tooled for comic effect. For the sheer number
of ingenious premises and formal ideas this show, and in particular the first
half, is as good as anything I have seen. To convey this properly one would
need to outline the mechanics of several of the sketches. One example will have
to suffice: the three versions of a sketch featuring a character called Jason recounting
how his date has gone. The sketch calls nominally for three parts, two of which
the duo (Ben Ashenden and Alex Owen) play in turn in each version; each time
they elicit new humour from the variation, and the humour is on each occasion
of a different kind (from revealing that one of the characters is superfluous
to the scene, to showing what Jason’s friend is really like). Metacomedy plus
new ways of presenting sketches plus laughter generated by each of these: this
sketch, and much else here besides, is a model of what cerebral and
self-reflective comedy should be like.
Having raised the bar so high, it’s understandable that The
Pin don’t always meet their own standards. The finale felt a little like their
2012 show: a clever twist on an existing idea (in this case, sketch shows
featuring spoof ‘cast and crew commentaries’, a la DVDs) but one which generates
admiration rather than mirth. In not delivering on its premise, this sketch
throws into sharp relief how impressively Ashenden and Owen have succeeded, for
the most part, in extracting the maximum reward from thinking hard about their chosen
form.
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