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Not quite an hour as promised but packed full of puns, stories and songs in Phil Nichol’s signature high energy style, with a scattergun delivery that hit the funny bone more often than not. Nichol’s was forgiven for those that missed the mark because of his incredibly high likeability factor. There were moments of full on hilarity, matched by those of paused confusion at not quite hitting the mark but with a confidence that the next one would. A lot of this show had been seen before, but that never stood in the way of a fine crescendo thanks to ‘The Only Gay Eskimo’.

Pavilion Theatre, Brighton Dome, 7 October
Rating:
Victoria Nangle

Chris Cox is a self-described mind reader who can’t read minds. He also refers to himself as a “skinny magic boy”, but he’s also a charmer, a comedian, an artist, a dancer, and anything else you might want him to be. Ultimately, he’s a crowd-pleaser, and in constructing this show around a loose linear framework he’s worked out exactly what each crowd wants – and delivers. His strength isn’t in the puns he’s constructed but in the awe he orchestrates. I won’t say what or how as that might ruin it for the next audience, but suffice to say the people leaving at the end of the show were not only smiling but filled with an optimistic reassurance about the world. This may not be magic, but it’s not far off.

Pavilion Theatre, Brighton Dome, 9 October
Rating:
Victoria Nangle

It takes a highly skilled comedian to make the half-full cavernous Corn Exchange buzz with electricity and Andrew Maxwell broke the meter. Unashamedly angry and political, Maxwell nonetheless brought a warmth and playfulness to proceedings; his piece on how the media treats the Middleton sisters was sharp, accurate and a brilliant bit of physical comedy. The routine on the riots was original and the funniest of its kind I’ve seen. I will also never look at Dougal from Father Ted in the same way. Maxwell should be selling out the Concert Hall rather than half filling the Corn Exchange.

Corn Exchange, Brighton Dome, 8 October
Rating:
Simon Plotkin

Nothing cheers me more than the sight of red velvet curtains at the theatre, and when they swept open the simple but complex set had me grinning with delight. Set in period the joy came from the director playing the story as if it were now, a conceit that works well. The story of course is pure silliness but allows for great fun. Jonathan Veira’s Don is a blustering buffoon, Andrei Bondarenko’s Malatesta wickedly devious, their singing superb and especially in the quick fire duet. Enea Scala’s Ernesto had the composure of a Dresden figure and he sang the role with a similar refinement. Ainhoa Garmendia as Norina was pure joy – coquettish, roguish and delivered with a voice that could melt hearts and shatter crystal. The chorus, in stunning white, sang with precision and the set never failed to deliver twist after twist. Pure joy.

Glyndebourne 9 October
Rating:
Andrew Kay