Dissecting the
Fringe: Edinburgh Diary
Monday 10th
The one-person character-and/or-sketch show is a formidably
versatile vehicle, as demonstrated by Douglas Walker’s Möglich and Daniel Nils Roberts’ Asp.
Walker’s is the more theatrically accomplished of the two.
His improv background shows in the precise characterisations and range of
accents, accompanied by a relatively sophisticated lighting design. Between the
sketches the stage is strongly back-lit, with Walker telling short jokes in
almost total darkness; the same effect is also employed very effectively in one
of the sketches where a journalist recounts his ordeal at the hands of
kidnappers.
The most effective sketches – an intrusive psychiatrist, a lollipop
man facing a crisis of confidence, and an elaborate set-up for a wonderfully
contrived pun – come at the end of the show, following some less interesting
ideas in the first half-hour. Each of these sketches is quite involved and
demands a certain commitment on the part of the audience – for instance, the
journalist sketch has no jokes for well over a minute – and perhaps Walker was
reluctant to risk these too early. As a result, Möglich has a rather lop-sided feel of a very accomplished
performer and writer who is perhaps a little tentative in how he approaches a
fifty-minute show.
Asp has a less
ambitious range of characters, and overall feels more like a work in progress.
Roberts relies heavily on powerpoint slides, which can be inventive but
sometimes feel like a crutch for characters who have not been developed in
enough detail. A sketch character need not have a fully worked out backstory,
but – to take one example - the UNICEF representative is so ill-informed about
his job and the organisation he works for that the sketch feels somewhat pointless.
Even the more successful sketches, such as the bellicose army cook, work
because of individual jokes rather than a carefully-developed character or
plot. Where Asp shows the most
promise is in left-field touches such as the recurring theme of things seen or
described from a bear’s point of view – not all of these work, but the
Shakespearean reference he contrives is a delight, showing how effective his
more lo-fi approach can be.
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