JIGSAW

HOLLY BURN

DARREN MASKELL

ANT SMITH

EDDIE IZZARD

MAT RICARDO

HOLLY BURN

You stole the show last month at Herne Hill, how did you enjoy the Pull The Other One experience?

I loved it. I was introduced as a burlesque act, so people were probably expecting a pretty lady with not many clothes on. Instead they got a bloke with a ginger beard in a dress. Or maybe nobody noticed, I dunno. It was good to have Martin Soan helping out doing a cameo as a kind of dancing god. He added an extra level of strangeness to things which I liked a lot. I love doing Pull The Other One gigs, they’re always excellent fun. Martin and Viv are partial to the stranger acts which is fantastic. The audience is always guaranteed to have gone away having seen some sights which is the best sort of night.

Your ‘Lady In Red’ character Mary, I understand original featured in your work with Tom Meeten in your comedy duo Oram & Meeten, when and how did this partnership begin?

Yeah, Tom and I met about twelve years ago when an agent asked us to be in a sketch show for Edinburgh, which he had the idea of putting together like a boy band. Like we were the comedy versions of Jason Orange and Mark Owen if you can imagine that. We even had a dance routine! It didn’t really work but Tom and I started doing our own thing and it went on from there. We’ve had a very good marriage ever since.

So what came first for you, the stand-up comedy or the acting?

Stand up came first, but I was always doing character stuff so it hasn’t been a giant leap. I started doing characters on the open mic circuit and then at universities and various dodgy gigs around the place. Usually changing in the toilets but gradually improving until I’d occasionally get to change in a shared dressing room with a carpet and stuff. I never really had any plan for it to lead to acting, I’d always just loved comics like Ronnie Barker, Spike Milligan, Vic Reeves so I wanted to be like them I guess.

Can you tell us a bit more about Lincoln Film Studios and how it started up?

Lincoln Studios came from a drunk conversation with a friend about how boring Hollywood films were. As a joke I said I was gonna start up the ‘English Hollywood’ and base it in Lincoln. But I did it, just filming my own films with my mates in and editing them on the computer myself. It was an inspiring way to work, cos I felt free to do anything and it didn’t matter, like you do when you’re a kid. It’s been good tapping into that sense of hilarity, which is how you do good work I think. Though not if you’re a surgeon or an airline pilot or something. I dunno, maybe then too.

You seem to have your fingers in many pies, from acting, stand up comedy, writing and directing. But where does your true passion lie?

It probably lies in writing, which is what connects them all. And humour is totally at the heart of it all. I love creating characters and seeing where they end up going. Having an adventure with them I suppose. And everything has to come from a humourous place, even the serious stuff. I’ve met a few people who don’t have any sense of humour at all and that is quite astonishing. How do you get through life!?

You co-wrote and are starring in a new feature film called ‘Sightseers’ directed by Ben Wheatley, could you tell us a bit more about the project and how it came about?

Alice Lowe and I had these characters we were performing live. These sort of suburban Brummies that were serial killers. We tried to get them on TV but no-one wanted it cos it was too dark. Not exactly Terry and June. Although in a weird way it was. Then Edgar Wright picked up on it, which lead to a Film 4 commission and we then spent several years writing and honing the script. We didn’t know what we were doing to start with, sort of learning as we went, but it all came together in a really nice way eventually. I’ve just seen the first cut of it and I’m really chuffed to bits with it!

What other projects have you got lined up for 2012?

I’m writing another film script at the moment and also a TV project with Tom called ‘The Forgotten Picture Show’ which we filmed a taster for last year. It’s basically a movie parody show. The one we filmed was like Rebel Without A Cause crossed with Grease. I played a geek and Tom was this fonzie-like character with a metal hand.

I’m sure the question on everyone’s lips is – are we going to see another appearance from you down at Pull The Other One in the future?

Absolutely. Tom and I are doing some stuff down at the Half Moon pretty soon I think. I can’t wait.

With the rich history of 80s experimental comedy behind them, the PTOO team aims to generate a real sense of congeniality and affection for the art of comedy and variety, whilst creating a nurturing environment for both artist and audience. To book your ticket in advance click here. 

TOM MONES

HOLLY BURN

PTOO TEAM PLAYERS

What made you want to come down to Pull The Other One?

A fellow comic by the name of John Kearns, (do look out for him, he is brilliant), recommended that I get in contact with the people who run it. He told me “Darren, they will LOVE you”.  I like to be loved.

Could you describe your act for the members of the Pull The Other One audience that aren’t familiar with you?

A couple of years ago, a reviewer said that I was “like an extra from a television drama in which the opening scene is the out-patients ward in a psychiatric hospital.” I think the added mention that I’m more like an extra, is a stab at my inability to convince people I am a genuine mental patient. I’ve never tried to do this, but the fact that I seem to have the inability to do so saddened me.

How long have you been on the circuit?

My first gig was in July 2008. However, I made a documentary about an open mic comic at university, so was following him around the circuit for a year, so I was already familiar with what it was like and the many characters.

What brought you into comedy?

The documentary I made. (It’s on Youtube, just type in “Gravesends son”).  I wanted to find the reason behind one person’s decision to take up stand up comedy. It’s not always about fame, as I found out. When I finished the documentary it sparked my curiosity to see if I could create a 5 minute routine. At the bottom of the open mic circuit everyone is eager to tell you that you’ve got to perfect your five minutes.

Where do you draw inspiration from for your material?

I think I get most of my ideas just as I’m drifting off to sleep. I think someone told me that this is when you process all of the thoughts you have had during the day. I might have dreamt that though.

You seem to use a lot of props on stage, which of course PTOO love – was this something you started out doing from the beginning?

No, not at first. I think my first prop was a bag of glitter that I would throw around, and then I gradually added more and more. I felt that sometimes a joke became funnier if I had a visual to go with it. It’s not something I set out to have in my set, and if I thought a joke would work just as well without one, I’d prefer to leave it out. Not that I have a problem with being called a prop comedian.  I think I can say that if you were to see my act, you would agree that the use of props is justified and not something i use as a gimmick or crutch.

You have been on the open mic circuit for a few years now; do you find it difficult to make an impact with such a short slot – and more often than not to a mainstream comedy audience – as a surreal comic?

Reading audiences can be difficult. Sometimes I’ve looked at and audience and thought “I’m going to struggle to get them on board” but then I’ve done well. Other times I’ve been at a student gig where I thought that an audience in a similar age group would like me, but didn’t.  A short slot does limit me in what I like to do, but it’s not impossible to win people over in a short amount of time.

Do you find yourself being quite selective with where you perform, with a view to reach an audience well versed in the surreal kind of comedy, away from the more mainstream circuit?

I have only been doing either gigs I have been asked to do or ones that I think will suit my style for the past year. I’m not interested in doing 3-4 gigs a week, running around, networking and all that malarkey. I’d much prefer to go and watch some comedy than perform as I find that more constructive.  I think most new acts make the mistake of thinking that constant gigging is the key to getting better and have never really been to a proper comedy night or are familiar with some of the great acts out there.

How did 2011 treat you, and what does 2012 hold?

2011 was filled with injustices for me. I felt that I should have been shot into fame, maybe not mainstream fame, but at least critical acclaim was expected. I suspect 2012 will be the same.

With the rich history of 80s experimental comedy behind them, the PTOO team aims to generate a real sense of congeniality and affection for the art of comedy and variety, whilst creating a nurturing environment for both artist and audience. To book your ticket in advance click here. 

NORMAN LOVETT

MARTIN SOAN

DARREN MASKELL

You’ve graced the PTOO stage in the past, how was that experience?

I believe they were astounded. And rightly so.

Did you find the women of Peckham to your taste?

I have yet to taste the women of Peckham, but judging by its high street’s culinary surroundings I imagine there would be the lingering taste of MSG.

Is there anything in particular that has drawn you back south of the river?

Money.

How have you found the reception to the release of your book “What We French Think Of You British (And Where You Are Going Wrong)”?

As expected, it has been extremely positive. The book was launched in July in Soho, where I employed a fast-track system for the signing. Those in the “book and boob signing” queue were served first.

What was your motivation behind writing the book?

Consider it a self-help book. I can be altruistic when asked. It is a myth that the French hate the British. In fact, we choose mostly to ignore you. But since I am using your country as my current home I felt it was my duty to write up some observations and advice.

So where are we going wrong?

The book is £6.99 from New Holland Publishers.

For your third year at Edinburgh you took a chat show this summer, what was the idea behind this type of show and how did it go?

Perfection takes time, and I had passed a large section of the year writing the book, not leaving enough time to write a full hour of excellence. And so I was forced to share the stage with lesser acts from the Fringe. Most were well behaved and entertaining enough, but sometimes I was forced to remind them whose show it was.

Would you consider taking this type of format outside of Edinburgh?

But of course. I am a raconteur and conversationalist in my spare time, so I am happy to receive payment and attention while doing so, be that on stage, in a television studio, or in a more private setting.

How do you balance your time between stand-up, writing and poetry?

There is a time and a place for each of these of course. Stand-up is best done in the evenings I find, general writing is determined by my mood, location and light availability, and poetry is best when written directly after (and very occasionally during) a sex act.

What’s next for Marcel Lucont?

I am returning to Australia in January to once again bring culture to their largely savage land, while working also on a new show for New Zealand Comedy Festival and Edinburgh Fringe 2012. Plus I am seeking a venue in Soho for a monthly run of Cabaret Fantastique, my late-night soirée. Once it is announced, book fast…

Are there any final words you would like to leave our audience?

My words are best when audible, so perhaps the audience should visit the live show to hear them. My voice is known to act as a strong aphrodisiac, so be prepared.

With the rich history of 80s experimental comedy behind them, the PTOO team aims to generate a real sense of congeniality and affection for the art of comedy and variety, whilst creating a nurturing environment for both artist and audience. To book your ticket in advance click here. 

How was tonight?

It was a joy. What I expected was a slightly reluctant audience because it is cabaret and I’m not mad on cabaret in the sense that sometimes the audience aren’t ready to laugh – so I was banging out jokes at them. I am intense, but there are different levels on intensity and I went on high, then realised in actual fact the audience were ready. So I softened it and made them my friends – I hope, I sense that they were sensing my energy, and my effort is to beat them over the head with it, until they submit. Rather than back away and make them in charge of your gig. Because an audience shouldn’t ever really be able to control a performer, because then you become more of a prostitute than an artist. You should be able to do what you do. It’s important, that although a comedian has to do their own thing, they have to learn the tricks to manipulate the audience into letting them do what they want to do; otherwise you end up doing the whole thing to silence. So you either give them what they want, or do what you do and work out ways of allowing yourself to do it.

How has 2011 been for you?

Well I learnt to drive this year, I also started looking after my daughter part time, one and a half days a week as of March. So this year I learnt to change nappies, do feeds and naps and things – and drive. So I became a dad and a driver this year. So comedy has been quite low on my priorities list, but when I’m on stage I love it as much as ever, but when I come off stage I stop thinking about it because I have got other things to think about, and we are moving house as well. So in a way, thinking about comedy less than ever has made me perform better than ever, because it’s only that 20 minutes a day that I’m thinking about it. It’s almost like a junkie getting his fix. The thing about comedy before and after shows is that you are living it so therefore when you go on stage, although it should be important because you have spent so much time thinking about it. In a way it’s not necessarily as important because its 20 minutes of your four hour comedy day. So in a way, strangely, by trying less hard I’m almost performing better. But the downside is the turnover of my material isn’t as high because I’m not thinking about it every day.

Yes, it must be hard because you don’t have the time to just sit down and concentrate on writing new material…

No exactly, I remember the good old days when I used to spend all day thinking about jokes. But then again that was a very one track life. I’ve got the love of a wife and a daughter now and you can’t beat that.

Did you take a certain amount of time completely off from comedy when your daughter was born?

Erm no, I had four days off. I think partly because my wife took a year off so she was there to do it all and partly because I’m self employed and you’ve got to make hay while the sun shines. It’s hard to turn down work, especially because of how quickly you can earn your money. I can pop to the Comedy Store 10 minutes from my house and do a gig, and that’s it, a day’s work in 20 minutes. So it’s hard to turn that down, I think you would have to be very well off to be able to turn down that kind of easy money.

Now you have been in comedy for so long, almost 18 years, do the avenues and inspiration from where you draw your comedy from change over time?

I thought it would be nice to get footage of my whole life and have the stuff that I was doing when I was 23 and living with my mum, then the stuff living on my own, moving on through to when I got engaged because I have stuff about every stage in my life. I would love to do something like Billy Connolly, getting clips of a whole career. Because things change, things mould you and opinions change. I have things that I wouldn’t do now because I don’t feel the same way about them anymore. And it’s not so much fashion and comedy changing; it’s actually me as a person. However, being a dad, it is impossible to not talk about my child on stage. I just open my mind up to what I’m seeing and thinking about; there is no way I’m not going to be talking about the main things in my life. If I’ve had an operation on my foot then there’s a joke about that, any major trauma in my life has become comedy, yea major trauma (laughs). I’ve had a couple of minor traumas and major incidents, and they have always become comedy.

Having a baby now, and stating that you would never spend more than four days away from your daughter, do you find that you are missing the ability to be able to go out and do bigger tours like the past?

I miss travelling round the country, going round the Middle East or round Switzerland, I do miss that fun bit of freedom. But at the same time it would kill me to miss my daughter, she changes every two days, she’s more alert, her vocabulary grows and her sentence structure changes in a week. So if I went away for a week and miss her significant something it would crush me. So I’m not taking that risk.

In a way it’s easier for you to deal with this now, having a child late on after such a long career. You can look back and know that you achieved so much and gave yourself the opportunity to have that freedom throughout your career. In many ways you have had the best of both worlds…

Yes exactly. Except I feel less successful at the moment. It’s not like I can go on tour and expect a 1000 people to come and see me. People tonight have been coming up to me and telling me they remember me from TV when I had blonde hair, that’s the kind of thing people say to me. So I am slightly in the shadow of my career, whereas someone big like Lee Evans could have a kid and get back on tour and do stadiums again. I can’t even do pubs, well I could but you know I couldn’t do theatres. So I think that what you have said is really touching and it is very wise. I have toured, I have had the single life, I have enjoyed all that and the sex drugs and rock n’roll to a certain extent. And now I have settled down and am very faithful, I have got a long term relationship, a very solid one and now I don’t need to tour, I’ve done those trips. But it would be nice to be able to tour as Adam Bloom and sell out a theatre if I was prepared to take myself away from my daughter. But the truth is that I don’t think I have a wide enough audience for that.

We seem to be at a stage now where TV has a major affect on the circuit. If you’re playing to clubs, you are only appealing to one type of audience but as you say to really “do it” you would have to be back on TV a lot of the time…

Well yes, I have got to get back on TV but they don’t want me at the moment. I could do the stuff I just done here tonight and someone else could be doing the same on TV but not as good, just because they are new, young or fresh. And now I think I have had my chance, I’ve had my bite of the cherry. Television and I had quite an intense, but short period. And now I think I could do with a new something, maybe writing a sitcom and being in it, and then I could tour my stand-up off the back of it. You know, it’s not sour grapes; it’s just now I have a family to look after so I have to do well. Whereas before I did it simply because I loved it, now I’ve got to do well. Before I didn’t care, I just wanted to be good, and being good meant making money because it went together. It’s like my fame being a by-product of success joke, they go together. So I now want to become successful so I can get more money and look after my family, so my wife doesn’t have to work and my daughter goes to a nice school and we live in a nice area. That’s what I aspire to now, so the comedy is now a means to an end, whereas before it was my way of life. I’ve grown up, I’ve hit adulthood (laughs).

What are your plans for 2012?

We are moving to a house in three weeks time where I will have an office two floors up, so my daughter will be playing downstairs and I’ll be two floors away. At the moment I live in a two bedroom flat, I haven’t got an office and I’m two rooms away at most. So to be two floors away blows my mind, the idea that I can actually not hear her blows my mind, I can’t get my head round the idea. It will probably piss me off to go downstairs to see to her but it will give me space to maybe write something. I have written five and a half hours of radio, and I’ve got a couple of sitcom pilots that I have already written in the past which I could brush up, re-write and tweak because they are timeless. But I just think I should really get going on something like that.

That seems a great way to be able to support the family, to not have to be away touring, so you can be at home with your daughter while still working on your comedy. But of course the PTOO audience would love you to come back!

That’s a lovely thing to say, this has been a great interview. This is a very unusual interview because it’s gone far more sensitive which is really nice. You didn’t ask me when I done my first gig, or who my influences are. Thank You.

With the rich history of 80s experimental comedy behind them, the PTOO team aims to generate a real sense of congeniality and affection for the art of comedy and variety, whilst creating a nurturing environment for both artist and audience. To book your ticket in advance click here.