Skip to main content

Pressed for St Albans.




Here's a press release for the forthcoming Hitchin Mostly Comedy at the Maltings' Arts Theatre in St Albans for your perusal; here's hoping it makes some vague sense.

 
Press Release – 02.11.18

mostly comedy
a monthly comedy club at maltings arts theatre in st albans


The duo behind Hitchin’s successful decade-old monthly comedy club Mostly Comedy DOGGETT & EPHGRAVE return to the Maltings Arts Theatre on Thursday 6th December to present their last St Albans bill of 2018 with QI’s PHIL KAY and Red Dwarf’s NORMAN LOVETT.

PHIL first burst on to the comedy circuit in 1989, winning the Edinburgh Fringe Festival competition So You Think You're Funny in its second year. His unpredictable, freestyle approach to live performance led to a Perrier Award nomination in 1993, as well as winning Best Stand-up at the British Comedy Awards in 1994.

He went on to make two series for Channel 4, Phil Kay Feels… and Next Stop, Phil Kay; more recent TV appearances include stints on BBC1’s ‘QI’ and BBC3’s ‘Russell Howard’s Good News’. He is huge on both the comedy and festival circuit, as well as working hard behind the scenes, writing for the likes of Harry Hill, Reeves and Mortimer and Jonathan Ross. In 2013 he published his autobiography The Wholly Viable.

NORMAN is a veteran of the stand-up circuit. He played the original Comedy Store on countless occasions - once supporting The Clash, which he sees as a personal career highlight. Television credits include his BBC2 Sitcom 'I, Lovett' and Paramount Comedy's 'Asylum', though he obviously most well-known for portraying the ship's computer Holly in four series of 'Red Dwarf'.

He has received his fair share of broadsheet praise, with The Guardian describing his act as 'exquisite stand-up comedy', and The Times saying 'Lovett turns aimlessness into an art'. In 2013, he performed alongside Doggett & Ephgrave in a reading of their sitcom pilot ‘Nick & Joe’ at London’s Soho Theatre. He could recently be heard alongside Lucy Beamont and Maureen Lipman in the new BBC Radio 4 Comedy 'To Hull and Back'.

The gig is emceed by the “polished, natural comedians” (Camden Fringe Voyeur) DOGGETT & EPHGRAVE, with the first act on at 8:00pm. Tickets are £13 (plus booking fee) and can be bought in advance at www.mostlycomedy.co.uk.

Date:              Thursday 6th December 2018
Venue:           Maltings Arts Theatre, Level 2, 26 The Maltings, St Albans, AL1 3HL.
Time:             Doors at 7:30pm. First act on at 8:00pm.
Admission:   £13.00. More info at www.maltingsartstheatre.co.uk and www.mostlycomedy.co.uk

Popular posts from this blog

Shakerpuppetmaker.

Have Parker from Thunderbirds and Noel Gallagher ever been seen in the same room? The resemblance is uncanny. So much so, I think something’s afoot. If my suspicions are correct, I've stumbled across a secret that will blow the music and puppet industry wide apart. In the mid-60s / mid-90s at least. It doesn’t take long to see the signposts. There’s the similarity between the name of Oasis’ first single, Supersonic, and Supermarianation, Gerry Anderson’s puppetry technique. The Gallagher brothers would often wear Parkas . Live Forever was clearly a reference to Captain Scarlet and Standing on the Shoulder of Giants to the size difference between Noel and his bandmates. The more you think about it, the more brazen it gets. It’s fishier than Area 51, Paul is Dead and JFK's assassination put together. The only glitch to the theory is scale . According to Wikipedia, Anderson’s marionettes were 1’10” and Gallagher is 5’8”. How does he maintain an illusion of avera...

'...I'm Gonna Look at You 'til My Eyes Go Blind."

Over the past week or two, I’ve been on a bit of a Sheryl Crow kick, largely thanks to rediscovering her cover of one of my most-liked Bob Dylan songs. She has one of my favourite female voices, yet despite this, I only own one CD and that’s just a single (her '97 release ‘Hard to Make a Stand’); on that basis, you can only imagine how much of her back catalogue I’d own if I hated her (it would fall into minus-figures). Dylan, conversely, takes up more of my collection than anyone else, save The Beatles and Paul McCartney’s solo work. He’s one of those artists who, when you get him, you really get him - and once I’d tuned into his style as a student, I'd time and again be blown away by his lyrics; he’ll have more jaw-dropping imagery in one track than other people fit in a whole career. These days, I mostly listen to music in the morning when getting ready, and more often than not, this will consist of a suggested YouTube playlist when I’m in the bath, r...

"Speaking Words of Wisdom, Let it Shine."

Tonight saw the second instalment of BBC1’s latest advertise-a-musical-for-months-and-then-cast-it-with-performers-too-inexperienced-to-do-it-a-thon ‘Let it S̶h̶i̶t̶e̶ Shine’ (or as I call it: ‘REAL AUDITIONS ARE NOTHING LIKE THIS’). I didn’t watch it (clearly), but being reminded of how angry seeing just five minutes of it made me last week caused me to mull over what I would call a musical based on the band’s songbook, if I was responsible for it. Here are a my suggestions: IDEAS FOR TITLE OF A TAKE THAT MUSICAL: Barlow! Dirty Fat-Dancing Orange! A Million Love-changes-everything Songs Owen! Howard's End Pray Misérables Mamma Marka! Babe (with a pig as the lead) …BUT MY FAVOURITE HAS TO BE: Jason & His Amazing Technicolour Dreamcoat. "It was Orange, Orange, Orange, Orange..." (TAKE) THAT’S ENOUGH OF (TAKE) THAT.