THE MALCOLM HARDEE AWARD 2008 - Nominations

Total Page：16

File Type：pdf, Size：1020Kb

THE MALCOLM HARDEE AWARD 2008 - nominations The shortlist for the 2008 Malcolm Hardee Award for comedy has been announced. The Award is for "comic originality of thought or performance" at the Edinburgh Fringe and is for the individual not for the show. It commemorates anarchic comedian and club owner Malcolm Hardee, the late 'godfather of alternative comedy', infamous for his stunts at the Fringe. He drowned in 2005. A Fringe award will be made annually until 2017. The five 2008 nominees are: Edward Aczel: Do I Really Have to Communicate With You (Underbelly) Peter Buckley Hill (PBH Free Fringe) Aindreas de Staic (Sweet, Grassmarket) The Fringe Box Office - for introducing surreal humour into the normally dull ticketing process Otto Kuhnle: 1000 Years of German Humour (Underbelly) A special nod but no nomination goes to: Gill Smith: OCD: My Family and Other Anals (Laughing Horse @ The Counting House) Gill sent an e-mail nominating herself for the Award on the basis that she could then legitimately put on her posters "Nominee - The Malcolm Hardee Award" - and pointed out that she believed Malcolm would have approved of this. He would indeed, but she gets disqualified for being a smart arse, though she is obviously logically right to call herself a Nominee on her posters. The Awards will be presented by Malcolm Hardee's son Frank and sister Clare during the "Late 'n' Live" show at the Gilded Balloon, Edinburgh, on Friday night 22nd August - really the early hours of Saturday 23rd August, as the show starts at 01.00am. Acts performing on the show will include Doktor CocaColaMcDonalds, Phil Kay and Jim Jeffries. Further details on: www.malcolmhardee.co.uk/award.

Copy Link

Recommended publications

Up the Creek Manager Vacancy Updated Copy
! Up the Creek Comedy Club - General Manager Vacancy General Bar/Venue Manager Required at Legendary Up the Creek Comedy Club Full Time Salary - £27k + bonuses. About the Venue: Founded by British comedy legend Malcolm Hardee in 1991, Up the Creek, located in the heart of Royal Greenwich, retains its reputation as one of of the most iconic comedy venues in the whole of the UK. Having helped launch the careers of industry heavyweights such as Jimmy Carr, Jo Brand and Harry Hill, Up the Creek showcases an eclectic combination of the most established comedy veterans as well as the most exciting comedic voices of tomorrow. From Thursday’s hugely successful interactive open mic ‘The Blackout’ to the raucous crowds and outstanding line-ups every Friday and Saturday through to the more chilled atmosphere (but no less spectacular bills!) featured on our Sunday Specials, Up the Creek proudly showcases the best of the British comedy scene, week in, week out. A fully licensed entertainment venue with a capacity of 275, we also run a small in-house micro brewery featuring our own hugely popular beers on-site. About the Team: Our team consists of a small core group of long-term staff including 1 Booking Director, 1 Assistant Manager and several part-time bar and booking employees, working on a packed programme of weekly shows (see above) as well as one-off corporate events and intermittent television and radio recordings. We are looking for a new General Manager to replace our current manager, who will sadly be retiring after 27 years at the venue.
[Show full text]
The Performance of Intersectionality on the 21St Century Stand-Up
The Performance of Intersectionality on the 21st Century Stand-Up Comedy Stage © 2018 Rachel Eliza Blackburn M.F.A., Virginia Commonwealth University, 2013 B.A., Webster University Conservatory of Theatre Arts, 2005 Submitted to the graduate degree program in Theatre and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Dr. Nicole Hodges Persley Dr. Katie Batza Dr. Henry Bial Dr. Sherrie Tucker Dr. Peter Zazzali Date Defended: August 23, 2018 ii The dissertation committee for Rachel E. Blackburn certifies that this is the approved version of the following dissertation: The Performance of Intersectionality on the 21st Century Stand-Up Comedy Stage Chair: Dr. Nicole Hodges Persley Date Approved: Aug. 23, 2018 iii Abstract In 2014, Black feminist scholar bell hooks called for humor to be utilized as political weaponry in the current, post-1990s wave of intersectional activism at the National Women’s Studies Association conference in San Juan, Puerto Rico. Her call continues to challenge current stand-up comics to acknowledge intersectionality, particularly the perspectives of women of color, and to encourage comics to actively intervene in unsettling the notion that our U.S. culture is “post-gendered” or “post-racial.” This dissertation examines ways in which comics are heeding bell hooks’s call to action, focusing on the work of stand-up artists who forge a bridge between comedy and political activism by performing intersectional perspectives that expand their work beyond the entertainment value of the stage. Though performers of color and white female performers have always been working to subvert the normalcy of white male-dominated, comic space simply by taking the stage, this dissertation focuses on comics who continue to embody and challenge the current wave of intersectional activism by pushing the socially constructed boundaries of race, gender, sexuality, class, and able-bodiedness.
[Show full text]
2013 Annual Review
Edinburgh Festival Fringe 2014 01 – 25 August edfringe.com ‘The excitement of the Edinburgh Fringe is infectious and empowering, a blast of rude energy ... there’s a heady sense that anything is possible.’ The Independent ‘It’s the biggest and best arts festival on the planet, and the comedy hub for acts from across the globe.’ Time Out London Sponsors CALEDONIAN ‘It is, quite simply, the greatest show on earth.’ The Scotsman ‘What an opportunity the Fringe offers – it’s nourishing art in every form.’ Miriam Margolyes Supporters ‘As an accredited producer at the Edinburgh Fringe for the past 13 years, it is very easy for me to sum up both the Edinburgh Fringe Society and its Arts Industry Office: essential.’ Richard Jordan, Producer Partners ‘Being at the Fringe changed my life in about a million TM ways... Never underestimate what your efforts have meant T S to thousands of performers, writers, directors and technical C R At The National Gallery Of Scotland artists and designers.’ Elaine Liner, Fringe Participant Copyright Edinburgh Festival Fringe Society Ltd 2013 All rights reserved. No part of this publication may be reproduced in any form without the written prior permission of the Edinburgh Festival Fringe Society. The Edinburgh Festival Fringe Society Ltd is a company limited by guarantee and incorporated in Scotland (No SC046605). Registered Charity No SC002995. Registered office:180 High Street, Edinburgh, EH1 1QS Telephone: 0131 226 0026 Fax: 0131 226 0016 Email: [email protected] Foreword Welcome‘The excitement to the Edinburgh Festival of the Fringe Edinburgh Society’s partners. Fringe It is not is only infectious their financial and contributions 2013 review.
[Show full text]
Annual Review 2011 Edinburgh Festival Fringe Society Sponsors
Annual Review 2011 Edinburgh Festival Fringe Society Sponsors Supporters Partners TM T S C R At The National Gallery Of Scotland THE MIKE WESTCOTT Jmemorial fund Foreword Welcome to the 2011 Annual Review this opportunity to publicly thank Simon of the Edinburgh Festival Fringe Society. Fanshawe, Steve Gove, Charlie Wood Each year in our Annual Review we try to and Allan Woolfe, all of whom left capture the most exciting and innovative the Board this year, for their unstinting aspects of the Fringe and the work of work on behalf of the Society. Between the Society. For me, this year’s Review is them they served for over 48 years especially poignant as it marks the last on the Society’s Board, giving freely occasion on which I shall be asked to of their knowledge and skills. Without contribute to it in my capacity as Chair of such generous contributions we simply the Society. My term of office will come would not be able to continue. I also to an end in August 2012 and I have want to welcome Peter Buckley Hill, Sam decided that it is time for some fresh Gough and Rachel McCluskey to the thinking and for someone new to lead the board for the first time and congratulate Board into the future. Sally Cowling, Shelagh Mackay, Alister O’Loughlin, Tommy Sheppard and However, this being the Edinburgh Collin Wood on either being elected or Festival Fringe, there is no prospect of appointed for another term. I have no taking the foot off the accelerator or doubt that over the years to come they winding down gently.
[Show full text]
An ADOBE ACROBAT VERSION
Pulling Mike Tyson’s teeth on a trampoline by John Fleming autobiography was cobbled- accept 5%; and maybe the off in a night. At the same together from at least three final 5% of my suggestions time, it is too short to fully separate conversations were rejected as bollocks too develop sub-plots. The it-Down Comedy is when he would remember – but some passing detail structure and the detail has published by Ebury different parts of the same might set them off on a to be tight, linear and SPress this month. I incident – all of them barely totally different creative immediately compelling. compiled it. Pulling Mike credible but actually true. He tangent that neither they nor I A new stand-up perhaps Tyson’s teeth on a trampoline is, in the flesh, a very funny had previously thought has ten one-minute jokes. A would have been easier. You raconteur. Write down about. One entire piece more experienced stand-up know you are in for trouble exactly what he says, came about because I can make those same ten when a publisher suggests though, and it’s an unfunny mentioned, in passing, that I jokes last 30 minutes. A great commissioning original shambles. Even more than admired Bernard Manning’s stand-up can build the same writing from 20 stand-up most, his spoken speech professionalism. ten jokes with peaks and comics. Any genre, any style. patterns diverge from Some delivered polished troughs and sub-jokes into a “Oh, they’re used to grammatical, logical written versions which needed no single hour-long routine writing,” is the unspoken sentences.
[Show full text]
Stuart Goldsmith
Stuart Goldsmith A charming, expert stand-up Sunday Times Awards: • Leicester Comedy Festival 2017: Best New Show - Winner • Amused Moose Edinburgh Comedy Awards 2015: Best Show - Nominee • Chortle Awards 2014: Internet Award for The Comedian’s Comedian podcast – Nominee • Chortle Awards 2013: Internet Award for The Comedian’s Comedian podcast – Nominee • New Zealand Comedy Festival 2013: Spirit of the Fringe Award – Winner • Chortle Awards 2012: Breakthrough Act Award – Nominee • Edinburgh Comedy Festival 2012: Malcolm Hardee Award – Winner • Leicester Comedy Festival 2011: Best Show Award – Nominee • Show Me The Funny (ITV) 2010: Semi-finalist Stuart Goldsmith is an internationally award-winning comedian, writer, podcaster and host. With a reputation for smart, accessible stand-up, Stuart's enthusiasm and natural charm conceal a quick wit and fearlessness honed by his early career as a street performer. In addition to his stand-up credentials, Stuart has built a reputation as a highly skilled interviewer and engaging host. His always insightful and often inspiring The Comedian’s Comedian podcast shines a light on the darkest creative secrets of his fellow comics, and is revered by comedy fans, performers and industry alike. Previous guests include Jimmy Carr, Tim Minchin, Russell Howard, Sarah Millican, Bo Burnham, Bill Burr, Jen Kirkman and James Acaster. Stuart is an Edinburgh Festival Fringe veteran. Having been introduced to the festival as a street performer, he has since taken seven solo stand-up shows and presented The Comedian’s Comedian podcast at the Fringe three times. Stuart’s critically-acclaimed 2016 show Compared To What subsequently toured internationally. 2017’s Like I Mean It was another massive success, winning the Leicester Comedy Festival Award for Best New Show and again touring internationally.
[Show full text]
British Cult Comedy.Indb 215 16/8/06 12:34:16 Pm Cult Comedy Club up the Creek in Greenwich, Southeast London
Geography Lessons: comedy around Britain British Cult Comedy.indb 215 16/8/06 12:34:16 pm Cult comedy club Up The Creek in Greenwich, southeast London British Cult Comedy.indb 216 16/8/06 12:34:17 pm Geography Lessons: comedy around Britain Comedy just wouldn’t be comedy without local roots. And that is why, in this chapter, we take you on a tour of British comedy from Cornwall to the Scottish Highlands, visiting local comedic landmarks, clubs and festivals. Comedy is prey to the same homogenizing forces Do Part, was successfully re-created in America, that have made Starbucks globally ubiquitous but Germany and Israel, suggesting that comedy that humour doesn’t travel so easily or predictably as touches, however lightly, on universal truths can cappuccino. In the past, slang, regional vocabu- be exported around the world. lary, accents and local knowledge have often A comic’s roots, cherished or spurned, are limited a comic’s appeal, explaining why such crucial to their humour. The small screen has acts as George Formby and Tommy Trinder never made it easier for contemporary acts – nota- quite transcended the north/south divide. Yet a bly Johnny Vegas, Peter Kay and Ben Elton character as localized as Alf Garnett, the charis- – to achieve national recognition while retain- matic Cockney bigot in the sitcom Till Death Us ing a regional identity. Since the 1980s, a more 217 British Cult Comedy.indb 217 16/8/06 12:34:17 pm GEOGRapHY LESSONS: COmedY arOUND brItaIN adventurous approach to sitcoms has meant that theme to British comedy, it was that, as Linda shows such as The Royle Family have had a much Smith told him: “A lot of comics come from more authentic local flavour than most of their the edge of nowhere.” Smith often argued with predecessors.
[Show full text]
Let's Drive a Blundabus Through the Heart of Comedy?!
Let’s Drive a BlundaBus through the heart of Comedy?! “What is a BlundaBus?” I hear you ask… It’s a double-decker venue full of creativity & Joy that can pop-up anywhere! “Spirit of the Fringe…” The Guardian ABOUT THE BLUNDABUS The BlundaBus is an award-winning pop-up Comedy Theatre & Bar on a converted double-decker Bus. Created by comedian Bob Slayer, the BlundaBus appears at Fringe, Festivals, Comedy Festivals, Music Festivals, Breweries, Your House… Anywhere it’s invited and Everywhere it’s not! On 4th July 2015 (Independence Day) we took delivery of an ex-London double decker. We converted it into a 45 capacity mini theatre on the top deck with a bar / ticket office in the saloon below. The BlundaBus has since appeared all around the UK and even Norway and Ireland is booked in. Previous Acts Include: Stewart Lee, Phil Kay, Paul Foot, Bobby Mair, Tim Renkow, Sofie Hagen, Adam Hess, Norman Lovett, Spencer Jones, Patrick Monahan, Tony Law, Josh Ladgrove, Simon Munnery, Bob Slayer… Festivals Include: Edinburgh Fringe, Leicester Comedy Festival, Glasgow Comedy Festival, Nottingham Comedy Festival, Croydon Comedy Festival, Bergen Humorfest (Norway), Stavanger Comedy Festival (Norway), Livestock Festival, Musicport, Brew In The Bog Festival, Kelburn Festival etc Breweries Include: Born In The Borders, Castle Rock Nottingham, Howardtown etc… WHO IS YOUR DRIVER? BOB SLAYER is an award-winning Comedian, storyteller and maverick Fringe promoter... Bob started life as a Jockey but multiple injuries and increasing weight caused him to retire from the saddle. He became a rock & Roll tour manager who The NME described as: "Wilder than the acts he looked after" (Snoop Dogg, Bloodhound Gang, Electric Eel Shock)..
[Show full text]
Abigail Wilson
RICHARD GADD Writer/Performer Television 2020-21 BABY REINDEER Eight-part series commissioned by Netflix UK from Clerkenwell Films WILD LION Original series in development with Mam Tor JAY Co-written with Pete Jackson for Clerkenwell Films Two scripts commissioned by C4 BOUNCER Treatment in development with Mermade DODO Original script in development with Hera Pictures SWEET MORSEL Original comedy single in development with Chapter One Pictures 2020 A BIT OF A STRETCH Writer’s Room Eleventh Hour 2019-20 SEX EDUCATION SERIES TWO Writer’s Room and Script Eleven Film for Netflix 2018 ULTIMATE WORRIER Three episodes commissioned Talkback for Dave 2017 LAST LEG: THE CORRESPONDENTS Two episodes commissioned Open Mike for Channel 4 Theatre 2019-20 BABY REINDEER Edinburgh Fringe Festival (Aug 2019), Bush Theatre (Oct-Nov 2019), Ambassadors Theatre West End (April-May 2019) BAM New York (May-Jun 2020) ***Winner Fringe First New Writing Award 2019 ***Winner Stage Award Best Show 2019 ***Winner Off West End Best Video Design Award 2020 ***Nomination Olivier Award for Outstanding Achievement in Affiliate Theatre 2020 ***Nomination Best Theatre Show Holden Street Theatre Awards 2019 ***Nomination Social Impact Theatre Sit Up Awards 2019 ***Nomination Best Theatre Show Scotsman Mental Health Awards 2019. ***Nomination Performance Piece Off West End Awards 2020. 2016-17 MONKEY SEE, MONKEY DO Edinburgh Fringe Festival (Aug 2016), Soho Theatre (Oct 2016 – Feb 2017), Melbourne International Comedy Festival (March-April 2017), International Tour (April-July
[Show full text]
2012 Annual Review
Annual Review 2012 Sponsors Supporters Partners TM THE MIKE WESmemorialTCOTT fund T S J C R At The National Gallery Of Scotland Foreword Welcome to the Edinburgh Festival Fringe Society’s Review of this festival provides a platform for bold new ideas expressed in 2012. I would like to pay tribute to the redoubtable Elizabeth exciting new ways. It is this innovation which is at the heart of Smith who gave outstanding service to the Society – and the the Fringe’s creative offering. Fringe as a whole as Chair of the Society – over 17 years. Elizabeth’s leadership helped the Society to survive and I also want to use this opportunity to say thank you to everyone indeed flourish during some extraordinarily difficult times. who plays a role in making this annual event such a success. I also want to mention Andre Vincent who has just stepped The Fringe is a truly participatory event and without the efforts down from the Board of the Society after many years of venue managers and their staff, producers, promoters, during which he was a strong voice for the views of Fringe journalists, arts industry professionals, the City Council’s staff, participants of all varieties. people employed by organisations such as the universities and the Society’s own staff a festival on this scale just wouldn’t The Fringe is very important to me for three reasons. It has be possible. I look forward to working with them all over the tremendous cultural value for Scotland as a whole. From the coming years as we build on the success of the last 65 years.
[Show full text]
Comedy and Distinction: the Cultural Currency of a ‘Good’ Sense of Humour
Sam Friedman Comedy and distinction: the cultural currency of a ‘good’ sense of humour Book (Accepted Version) Original citation: Comedy and distinction: the cultural currency of a ‘good’ sense of humour, Abingdon, Oxon: Routledge, 2014, 228 pages. © 2017 The Author This version available at: http://eprints.lse.ac.uk/59932/ Available in LSE Research Online: September 2017 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Introduction: Funny to Whom? In January 2011, the scheduling plans of Britain’s biggest TV station, BBC 1, were leaked to the press. After the recent success of BBC comedies such as Outnumbered and My Family, BBC1 Controller Danny Cohen apparently told his team of producers that BBC Comedy was becoming ‘too middle class’, and failing in its responsibility to appeal to working class viewers (Gammell, 2011; Revoir, 2011; Leith, 2011).
[Show full text]
LGBT Picks for the Edinburgh Festival 2017 Trans Things
LGBT Picks for the Edinburgh Festival 2017 Trans things Eve £21.50 / £16.50 / £9.50 Eve tells the story of a child raised as a boy, when she knew all along that was wrong. That child grew up to be one of the 10 Outstanding Women in Scotland in 2017. What does that do to our understanding of what it is to be human in times of revolutionary change? With trans rights again under threat, legendary playwright, performer, father and grandmother Jo Clifford tells a story both gentle and passionate, intimate and political, to remind us that the journey towards our real selves is one we all need to make. Wherever it leads us… https://www.traverse.co.uk/whats-on/event-detail/1211/eve Adam £19.50 / £14.50 / £9.50 “If you are born in a country where being yourself can get you killed, exile is your only choice. Adam is the remarkable, true story of a young trans man having to make that choice and begin his journey. From Egypt to Scotland, it charts Adam’s fight across borders and genders to find a place to call home. In a world first, Adam features a 120-strong, international world choir of trans individuals from across the globe, which has been uniquely integrated into this remarkable multimedia production. Adam is performed by Adam Kashmiry and Neshla Caplan. Adam is the real person on whom the story is based and this is his professional debut. https://www.traverse.co.uk/whats-on/event-detail/1210/adam God Hates me I’m Trans £11/£7 “According to Baptist ministers in America, transpeople are going to Hell – a fact that Nicci is fine with, since apparently the Devil wears Prada.
[Show full text]