Oxford University’s theatre group, Girls On Top, fittingly choose Caryl Churchill’s play Top Girls to take to the Edinburgh Fringe. The theatre company successfully delivered Churchill’s unconventional play that criticises the ever-present patriarchy in society and the Thatcherite feminism of the eighties that continues to prevail in 2008.
Churchill’s play is based around a career driven woman, Marlene, and her development from an individualist and hard-hearted woman into a woman that realises that feminism and strength is not about the individual, but about a collective in which women are empowered by working together.
Churchill addresses the conflicts that women have to face, not only in modern society, but also historically. Churchill uses non-linear methods to introduce a climatic scene in which five historical heroines celebrate Marlene’s promotion. Through their broken dialogues, during the dinner party in act one, the difficulties that woman are constantly faced with and the sacrifices that women have to make daily are portrayed. The audience were able to draw comparisons through the heroines’ gender issues with issues that women continue to face in modern life in this passionate performance.
Girls On Top revived Churchill’s seemly forgotten play with their sharp performance and director Sarah Branthwaite cleverly adapted Churchill’s sparse directions to produce a thought-provoking performance. The thrust stage set up made the audience aware of the differing viewpoints in the small theatre, which nodded to the various viewpoints upon the subject of working women and feminism that Churchill questions.
The acting was superb and Churchill’s infamous overlapping was successfully executed. Each character was given an existence and became fully animated on stage, making the performance poignant and delivering Churchill’s strong message which can sometimes be understated when read.
Girls On Top gave a thrilling performance and awoke a socialistic feminism that seemed to be dying out. It produced hope, as well as thoughts, for the future of women.
Sunday 17 August 2008
Friday 15 August 2008
Review of Clarkson and Crouch, Away With the Fairies, published on Fresh Air online on 15/08/08.
Clarkson and Crouch’s comic debut show, Away With the Fairies, was a pleasant success from the unlikely pair with a background in acting. I was intrigued by their innovative idea of merging the supernatural with comedy and was looking forward to their final result.
The set of sketches turned out to be fast and furious; being jammed packed with ideas and characters that sent all of the audience members into hysterics.
The highlights of the numerous sketches include the Pearl and ‘Chelle sketch. In which Clarkson and Crouch superbly take the role of two Cockney women who chatter over tea and plot to gain revenge upon Pearl’s neighbour, Darren Brown, for his magical, if rather noisy, bedroom antics through the use of mind power classes.
The intelligent sketch based upon the poetry of Byron and Shelley is set in an advertising agency, where Clarkson and Crouch wittily impersonate the dead poets and enact ideas for a sanitary towel range. Crouch takes on the role of Byron and laconically suggests a tagline for the campaign that will put a “plug” in the “crimson piper that plays at a woman’s gate during Blow Job Week”.
A few sketches, admittedly, go over my head mainly due to my lack of knowledge about Superheroes, especially Spacecats. But Clarkson and Crouch swiftly move on to a new scenario, and set the scene alive again with their satire about Tramps.
Clarkson and Crouch displayed magnificent acting skills as they transferred from scene to scene with a professional ease. As well as successfully executing their various and differing character roles, Clarkson and Crouch also showed that they are actors who can deliver a cracking punch-line just as well as the professional comedians on at the Edinburgh Fringe.
This is definitely a must-see show of the Fringe, for the innovation of adapting modern urban life to an outer-world experience. So prepare yourself to be intensely entertained for the hour.
The set of sketches turned out to be fast and furious; being jammed packed with ideas and characters that sent all of the audience members into hysterics.
The highlights of the numerous sketches include the Pearl and ‘Chelle sketch. In which Clarkson and Crouch superbly take the role of two Cockney women who chatter over tea and plot to gain revenge upon Pearl’s neighbour, Darren Brown, for his magical, if rather noisy, bedroom antics through the use of mind power classes.
The intelligent sketch based upon the poetry of Byron and Shelley is set in an advertising agency, where Clarkson and Crouch wittily impersonate the dead poets and enact ideas for a sanitary towel range. Crouch takes on the role of Byron and laconically suggests a tagline for the campaign that will put a “plug” in the “crimson piper that plays at a woman’s gate during Blow Job Week”.
A few sketches, admittedly, go over my head mainly due to my lack of knowledge about Superheroes, especially Spacecats. But Clarkson and Crouch swiftly move on to a new scenario, and set the scene alive again with their satire about Tramps.
Clarkson and Crouch displayed magnificent acting skills as they transferred from scene to scene with a professional ease. As well as successfully executing their various and differing character roles, Clarkson and Crouch also showed that they are actors who can deliver a cracking punch-line just as well as the professional comedians on at the Edinburgh Fringe.
This is definitely a must-see show of the Fringe, for the innovation of adapting modern urban life to an outer-world experience. So prepare yourself to be intensely entertained for the hour.
Thursday 14 August 2008
Review of Laura Marling, published on Fresh Air online, 14/08/08.
It was always going to be a come-down from Glastonbury to the diminutive venue that is, Bannermans. But I was excited to see such a high-profile artist as Laura Marling, at such an intimate venue.
Laura Marling was shielded by her entourage through the cramped, perspiring crowd and taken onto the tiny stage at the front of the vault on the Cowgate. She opened her fifty-minute long set with an acoustic-version of Shine which mellowed the atmosphere after a dynamic set from support band, Mumford and Sons.
Mumford and Sons set up the evening of folk music with lead singer, Marcus Johnstone’s gritty vocals and fervent lyrics. Mumford and Sons displayed their skill as musicians in their ardent love song White Blank Page; which admittedly was the highlight of my evening.
Marling took to stage shortly after and played as laconically as ever, staring into the distance as if mesmerised by her poignant lyrics.
My Manic and I was performed acutely with support from Marling’s full band, in which Marling finally released her hidden passion and sung with an intense tone of vexation in parts.
Marling continued to demonstrate her exceptional vocals in new tracks Blackberry Stone and Rebecca, which was applauded by the audience as vigorously as her well-known tunes.
Night Terror was performed passionately and led straight into the encore which included Cross My Fingers, Crawled Out of the Sea and Marling’s infamous extended live version of Alas I Cannot Swim. Marling coyly thanked her audience and promised that she would be back in a week to enjoy the rest of the festival with them.
The response was rapturous even though the flow of the set was inhibited by the constant re-tuning of guitars due to the extreme heat. But it must be acknowledged that Laura Marling has comfortable seated herself as an unforgettable live act, in both large venues such as the Glastonbury Park Stage, and Edinburgh’s Bannermans.
Laura Marling was shielded by her entourage through the cramped, perspiring crowd and taken onto the tiny stage at the front of the vault on the Cowgate. She opened her fifty-minute long set with an acoustic-version of Shine which mellowed the atmosphere after a dynamic set from support band, Mumford and Sons.
Mumford and Sons set up the evening of folk music with lead singer, Marcus Johnstone’s gritty vocals and fervent lyrics. Mumford and Sons displayed their skill as musicians in their ardent love song White Blank Page; which admittedly was the highlight of my evening.
Marling took to stage shortly after and played as laconically as ever, staring into the distance as if mesmerised by her poignant lyrics.
My Manic and I was performed acutely with support from Marling’s full band, in which Marling finally released her hidden passion and sung with an intense tone of vexation in parts.
Marling continued to demonstrate her exceptional vocals in new tracks Blackberry Stone and Rebecca, which was applauded by the audience as vigorously as her well-known tunes.
Night Terror was performed passionately and led straight into the encore which included Cross My Fingers, Crawled Out of the Sea and Marling’s infamous extended live version of Alas I Cannot Swim. Marling coyly thanked her audience and promised that she would be back in a week to enjoy the rest of the festival with them.
The response was rapturous even though the flow of the set was inhibited by the constant re-tuning of guitars due to the extreme heat. But it must be acknowledged that Laura Marling has comfortable seated herself as an unforgettable live act, in both large venues such as the Glastonbury Park Stage, and Edinburgh’s Bannermans.
Review of comedian Jarlath Regan, published on Fresh Air online, 14/08/08.
Jarlath Regan’s new show, Relax the Cax, is his most self-deprecating yet, as Regan jokes about him facing up to his fear of fighting.
Regan sweetly thanks the packed out room for coming. He instantly mocks the people on the front row, likening them to the friend who gets stuck in the front of the taxi, while the others are “in the back, having the craic!”
The anecdote of when a traffic warden squared up to Regan sets the basis for the show, in which Regan comically acts out the “de-masculating” experience of timidly accepting the car clamp and wandering back hurt, emotionally, to his fiancé who merely laughs in response.
Regan also introduces some audience participation in this light-hearted show. At one point asking an audience member to perform a heckle that Regan had seen directed towards a compére at an Irish comedy festival, which led to rapturous applauds and giggles for the excellent performances of Regan and Dave the audience member.
Regan rounded off his set with his infamous greeting cards “for situations that modern greeting card companies don’t currently cater for”, which sent the audience into fits of laughter.
Relax the Cax was an hour of Irish charm, cheeky one-liners and heart-warming giggles. It is Regan’s dulcet Irish accent that really sets the tone of his set and relaxes the audience into a late-afternoon stand-up show, but don’t expect to be laughing out loud.
Regan sweetly thanks the packed out room for coming. He instantly mocks the people on the front row, likening them to the friend who gets stuck in the front of the taxi, while the others are “in the back, having the craic!”
The anecdote of when a traffic warden squared up to Regan sets the basis for the show, in which Regan comically acts out the “de-masculating” experience of timidly accepting the car clamp and wandering back hurt, emotionally, to his fiancé who merely laughs in response.
Regan also introduces some audience participation in this light-hearted show. At one point asking an audience member to perform a heckle that Regan had seen directed towards a compére at an Irish comedy festival, which led to rapturous applauds and giggles for the excellent performances of Regan and Dave the audience member.
Regan rounded off his set with his infamous greeting cards “for situations that modern greeting card companies don’t currently cater for”, which sent the audience into fits of laughter.
Relax the Cax was an hour of Irish charm, cheeky one-liners and heart-warming giggles. It is Regan’s dulcet Irish accent that really sets the tone of his set and relaxes the audience into a late-afternoon stand-up show, but don’t expect to be laughing out loud.
Friday 8 August 2008
The Kooks live review published on Fresh Air 29/4/08
Brit-pop, Sweat and … The Kooks?!
Ok. So The Kooks aren’t the coolest band to profess to have seen at one of their own gigs. But I wasn’t the only person there at their sold-out gig at the Corn Exchange, Edinburgh.
The crowd was buzzing with excitement and were eagerly awaiting the performance of the recent album chart number ones. The audience varied from chavs to Rahs, screaming girls, Pritchard wannabes with trilbies alike, and people as old as my parents. The Kooks have certainly worked magic with the music on a grand-scale, reaching out to all different sorts of fans from the nation.
As we edged our way into the diverse masses the crowd (or I should say the fifteen year old girls in the crowd) screamed during the silences between the poorly mixed indie tape; while young men shouted for their idols while simultaneously chatting up any being with a skirt on within grasp.
The interlude finished and the clinical Corn Exchange went dark as the iconic neon sign “Kooks” shone brightly in the top right hand corner of the stage; which produced images of a dark back alley lit by a sign for the nearest lap-dance bar in my mind. I am not entirely sure that this was the image The Kooks were trying to project, but it is an image that is darker and edger than their early days.
Pritchard and his gang of likely lads trooped onto stage in full indie clad and immediately sprung into the opening of the first single of the new album Konk, “Always Where I Need To Be”. The opening electric chords sent girls screaming, parents applauding and young men pongoing to the front; while expertly singing out of tune to every word which, in parts, drowned out Pritchard’s vocals.
The band played all of the “classics” off their debut album, Inside In/ Inside Out, which was met with fervour from the audience, as well as an Oasis-esque sing-along performance with both band and crowd performing for each other.
Their summer classic, “Naïve”, received the greatest response and even I found myself getting into the pop spirit, singing and jumping along with an increasingly hot and sweaty crowd. Pritchard then attempted to give the crowd a break with the notorious acoustic track “One Last Time” from their latest album. Pritchard seemingly enjoyed bleating out his “abcd” lyrics while the full spotlight was on him, while the crowd swayed and sang along; boosting his ego to a new height.
After an extensive set of both the first and the second album the band left the stage pronouncing (in Pritchard’s lispy voice) “Thanks a lot, we’re The Kooks” (just as a reminder) and exited the stage. The crowd still wanting more of the carbon copy music screamed “we want The Kooks”. Pritchard granted his fans’ request by appearing solitary on stage, but for an acoustic guitar, for the encore in an unflattering white vest.
Pritchard, tentatively, began the infamous chords to their debut opener, “Seaside”, which for its acoustic brilliance was ruined by Pritchard’s shaky voice, stiff chord changing and the X-Factor style vocals of the whole crowd. Still it allowed me to reminisce about a fantastic holiday with friends in Newquay, summer 06’.
Pritchard was joined by the rest of The Kooks for the closing two songs; “Jackie Big Tits” and “Sofa Song”. They then left the audience in the dark again, only to be mesmerised by the neon “Kooks” sign.
Ok. So The Kooks aren’t the coolest band to profess to have seen at one of their own gigs. But I wasn’t the only person there at their sold-out gig at the Corn Exchange, Edinburgh.
The crowd was buzzing with excitement and were eagerly awaiting the performance of the recent album chart number ones. The audience varied from chavs to Rahs, screaming girls, Pritchard wannabes with trilbies alike, and people as old as my parents. The Kooks have certainly worked magic with the music on a grand-scale, reaching out to all different sorts of fans from the nation.
As we edged our way into the diverse masses the crowd (or I should say the fifteen year old girls in the crowd) screamed during the silences between the poorly mixed indie tape; while young men shouted for their idols while simultaneously chatting up any being with a skirt on within grasp.
The interlude finished and the clinical Corn Exchange went dark as the iconic neon sign “Kooks” shone brightly in the top right hand corner of the stage; which produced images of a dark back alley lit by a sign for the nearest lap-dance bar in my mind. I am not entirely sure that this was the image The Kooks were trying to project, but it is an image that is darker and edger than their early days.
Pritchard and his gang of likely lads trooped onto stage in full indie clad and immediately sprung into the opening of the first single of the new album Konk, “Always Where I Need To Be”. The opening electric chords sent girls screaming, parents applauding and young men pongoing to the front; while expertly singing out of tune to every word which, in parts, drowned out Pritchard’s vocals.
The band played all of the “classics” off their debut album, Inside In/ Inside Out, which was met with fervour from the audience, as well as an Oasis-esque sing-along performance with both band and crowd performing for each other.
Their summer classic, “Naïve”, received the greatest response and even I found myself getting into the pop spirit, singing and jumping along with an increasingly hot and sweaty crowd. Pritchard then attempted to give the crowd a break with the notorious acoustic track “One Last Time” from their latest album. Pritchard seemingly enjoyed bleating out his “abcd” lyrics while the full spotlight was on him, while the crowd swayed and sang along; boosting his ego to a new height.
After an extensive set of both the first and the second album the band left the stage pronouncing (in Pritchard’s lispy voice) “Thanks a lot, we’re The Kooks” (just as a reminder) and exited the stage. The crowd still wanting more of the carbon copy music screamed “we want The Kooks”. Pritchard granted his fans’ request by appearing solitary on stage, but for an acoustic guitar, for the encore in an unflattering white vest.
Pritchard, tentatively, began the infamous chords to their debut opener, “Seaside”, which for its acoustic brilliance was ruined by Pritchard’s shaky voice, stiff chord changing and the X-Factor style vocals of the whole crowd. Still it allowed me to reminisce about a fantastic holiday with friends in Newquay, summer 06’.
Pritchard was joined by the rest of The Kooks for the closing two songs; “Jackie Big Tits” and “Sofa Song”. They then left the audience in the dark again, only to be mesmerised by the neon “Kooks” sign.
The Kooks album review published on Fresh Air 29/4/08
The Kooks have been away for two years, touring and ensuring that the follow up to their debut album, Inside Out/ Outside In, is bloody pop-tastic.
The pressure was on the four lads from Brighton as the all-important second album determines their future in the music business. The Killers failed to create a fuss about their debut Hot Fuss and are desperately clutching to their future; as the Red Light Company have just been signed to their record label and are tipped as the new Killers (when they were good). While The Libertines cemented their faces as Rock Legends with their self-titled second album; or maybe it was their notoriety.
After the first few listens to the second album, Konk, it is easy to recognise that not much has changed. There is still a summertime feel to the classic Kooks’ riffs, lyrics about love and loss, and of course Luke Pritchard’s ever-present arrogance that could rival Johnny Borrel.
Yet there is also a more self-conscious element to the album. Luke Pritchard explains his infamous arrogance in the first single from the album Always Where I Need To Be as “I’m a man, and I can be so obscene”. As well as the band’s definite escalation in musical confidence, as extensive touring has obviously shaped their skill to the point where you could say that they are experienced musicians.
Pritchard’s vocals match the intensity of the lead guitar, yet lazy lyrics such as Pritchard’s recital of the alphabet in One Last Time really let down his overall performance.
The Kooks have obviously been listening to their contemporaries during the making of this album. Influences derive from other pop acts such as The Wombats. As well as heavier influences from the likes of Muse and The Libertines on killer tracks Stormy Weather and Sway. The Kooks have attempted a Glam-Rock innovation to their acoustic summertime twang. Yet the album ends with a classic Kooks’ reggae-style track, Tick of Time, which is slightly too reminiscent of Time Awaits from their debut album.
Overall The Kooks have released a mediocre album which is highly similar to their debut album, but just lacks that bang! But they certainly haven’t lost their credibility with Konk as the album has reached number one highlighting their pop-ularity. But I very much doubt that this follow up will provide them with the rock status that their ambition strives for.
The pressure was on the four lads from Brighton as the all-important second album determines their future in the music business. The Killers failed to create a fuss about their debut Hot Fuss and are desperately clutching to their future; as the Red Light Company have just been signed to their record label and are tipped as the new Killers (when they were good). While The Libertines cemented their faces as Rock Legends with their self-titled second album; or maybe it was their notoriety.
After the first few listens to the second album, Konk, it is easy to recognise that not much has changed. There is still a summertime feel to the classic Kooks’ riffs, lyrics about love and loss, and of course Luke Pritchard’s ever-present arrogance that could rival Johnny Borrel.
Yet there is also a more self-conscious element to the album. Luke Pritchard explains his infamous arrogance in the first single from the album Always Where I Need To Be as “I’m a man, and I can be so obscene”. As well as the band’s definite escalation in musical confidence, as extensive touring has obviously shaped their skill to the point where you could say that they are experienced musicians.
Pritchard’s vocals match the intensity of the lead guitar, yet lazy lyrics such as Pritchard’s recital of the alphabet in One Last Time really let down his overall performance.
The Kooks have obviously been listening to their contemporaries during the making of this album. Influences derive from other pop acts such as The Wombats. As well as heavier influences from the likes of Muse and The Libertines on killer tracks Stormy Weather and Sway. The Kooks have attempted a Glam-Rock innovation to their acoustic summertime twang. Yet the album ends with a classic Kooks’ reggae-style track, Tick of Time, which is slightly too reminiscent of Time Awaits from their debut album.
Overall The Kooks have released a mediocre album which is highly similar to their debut album, but just lacks that bang! But they certainly haven’t lost their credibility with Konk as the album has reached number one highlighting their pop-ularity. But I very much doubt that this follow up will provide them with the rock status that their ambition strives for.
The Improverts Review published on Fresh Air 31/7/08
Show Title: The Improverts.
Date and Time: 12.30am-1.30am, Thursday 31st July 2008.
Venue: Bedlam Theatre.
Review:
Fringe Festival veterans, that is, Edinburgh University’s improvised comedy act, The Improverts, are hitting festival goers with their famous spontaneous sketches for the 19th year in a row.
Five budding ‘Players’ raised the Bedlam Theatre roof last night by the amount of laughter they generated through their lightening delivery of comedy, all at the request of the audience. The audience threw the actors in at the deep end with their bizarre suggestions, which the Bedlam ‘Players’ expertly changed into a seamless comedy sketch which had the crowd laughing out loud and applauding mid-scene.
During the one hour set the ‘Players’ performed various games in which the audience suggested the topic and direction of the scene, making sure that no two shows are the same. The highlight of this particular show was ‘Marriage Counsellor’, in which director Robin Stewart and fellow ‘Player’, Michael Whitman made the audience howl with laughter as they acted out a sketch about a married couple who had a problem with the others’ obsession; the former with teacakes and the latter with peacocks. The show closed with the game ‘Freeze’ which allowed further audience participation with the audience joining the ‘Players’ on stage.
The energy from the show was heightened by the masterful lighting and synchronised music, which was rapidly adapted to the audience’s suggestion for each scene.
The finale concluded with a bow from the ‘Players’ and rapturous applauds from the crowd. The audience exited the old church venue fully entertained, exclaiming ‘I loved it’. The Improverts is definitely a must-see show of the Fringe.
***** Expect lots of audience participation and lots of laughs.
Date and Time: 12.30am-1.30am, Thursday 31st July 2008.
Venue: Bedlam Theatre.
Review:
Fringe Festival veterans, that is, Edinburgh University’s improvised comedy act, The Improverts, are hitting festival goers with their famous spontaneous sketches for the 19th year in a row.
Five budding ‘Players’ raised the Bedlam Theatre roof last night by the amount of laughter they generated through their lightening delivery of comedy, all at the request of the audience. The audience threw the actors in at the deep end with their bizarre suggestions, which the Bedlam ‘Players’ expertly changed into a seamless comedy sketch which had the crowd laughing out loud and applauding mid-scene.
During the one hour set the ‘Players’ performed various games in which the audience suggested the topic and direction of the scene, making sure that no two shows are the same. The highlight of this particular show was ‘Marriage Counsellor’, in which director Robin Stewart and fellow ‘Player’, Michael Whitman made the audience howl with laughter as they acted out a sketch about a married couple who had a problem with the others’ obsession; the former with teacakes and the latter with peacocks. The show closed with the game ‘Freeze’ which allowed further audience participation with the audience joining the ‘Players’ on stage.
The energy from the show was heightened by the masterful lighting and synchronised music, which was rapidly adapted to the audience’s suggestion for each scene.
The finale concluded with a bow from the ‘Players’ and rapturous applauds from the crowd. The audience exited the old church venue fully entertained, exclaiming ‘I loved it’. The Improverts is definitely a must-see show of the Fringe.
***** Expect lots of audience participation and lots of laughs.
Morgan Murphy review published on Fresh Air 8/8/08
Morgan Murphy-I Don’t Know Who I Am Either- The GRV-Thursday 7th August, 6.30pm-7.30pm. Until 24th August.
Morgan Murphy has hit the Edinburgh Fringe for the first time with her most self-conscious and personal show to date, I Don’t Know Who I Am Either. Murphy sardonically addresses the fears of a new comic debuting at the Edinburgh Festival, yet her cynical humour and the audience reaction allow Murphy to display her true talent as a stand-up comedian.
Murphy epitomises modern Western culture through her cheeky one-liners and hilarious anecdotes about “eco-friendly” electric cars, Skyping her Therapist and her addiction to day-time TV.
The highlight of the hour long set was when Murphy displayed the extent of her dark humour during the anecdote about her electric car being so useless that she envied the car battery’s death. Murphy’s deadpan approach to profound subjects like suicide, societal problems and psychosis make this show an intellectual escape from reality.
Unfortunately, I Don’t Know Who I Am Either has not been as successful as Murphy had hoped, with poor show attendance and difficulty is translating her American humour to a British audience. Her self-criticism has visibly affected her performance as Murphy deviated from her show into a bundle of self-pity, which brought down her superb opening.
However, Murphy left the stage with a huge smile and an applauding audience in the knowledge that she has proven that she is a gifted comedian and that, with confidence, her shows can only get better. She is one to watch out for as Murphy becomes more and more accustomed to the dog-eat-dog nature of the Edinburgh Fringe and is growing out of her shaky start.
Morgan Murphy has hit the Edinburgh Fringe for the first time with her most self-conscious and personal show to date, I Don’t Know Who I Am Either. Murphy sardonically addresses the fears of a new comic debuting at the Edinburgh Festival, yet her cynical humour and the audience reaction allow Murphy to display her true talent as a stand-up comedian.
Murphy epitomises modern Western culture through her cheeky one-liners and hilarious anecdotes about “eco-friendly” electric cars, Skyping her Therapist and her addiction to day-time TV.
The highlight of the hour long set was when Murphy displayed the extent of her dark humour during the anecdote about her electric car being so useless that she envied the car battery’s death. Murphy’s deadpan approach to profound subjects like suicide, societal problems and psychosis make this show an intellectual escape from reality.
Unfortunately, I Don’t Know Who I Am Either has not been as successful as Murphy had hoped, with poor show attendance and difficulty is translating her American humour to a British audience. Her self-criticism has visibly affected her performance as Murphy deviated from her show into a bundle of self-pity, which brought down her superb opening.
However, Murphy left the stage with a huge smile and an applauding audience in the knowledge that she has proven that she is a gifted comedian and that, with confidence, her shows can only get better. She is one to watch out for as Murphy becomes more and more accustomed to the dog-eat-dog nature of the Edinburgh Fringe and is growing out of her shaky start.
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