‘Laughter Hours’ review
‘the night was a roaring success’
After a jam-packed week of comedy at the Assembly Rooms Theatre, it seems only fitting that week 7’s Sunday slot be filled by The Durham Revue, and their Bristolian counterparts, The Bristol Revunions, for a joint night of sketch comedy. I must admit that I was slightly late to the party, as this was the first I had seen of this academic year’s sketch comedy offerings. Needless to say, both troupes bought an infectious energy to the theatre, serving as the perfect end to the first taste of post-exams life in Durham.
The show began with Durham Revue’s writers, Nat Pryke and Samuel Bentley, with a timely introduction to each troupe member’s dad for Father’s Day. Presented with the task of covering for the absence of special guests, Pryke and Bentley took the challenge in their stride, eliciting some of the loudest laughs of the night. They undoubtedly have an impressive stage presence, both individually and as a pair, as proven by their cameos in two sketches. Whilst they shine in their roles as writers, I am surprised that they don’t have more a performance-based role in the troupe. For me, their moments on stage marked some of the show’s highlights, and both should be commended for this.
The Bristol Revunions were the first of the two troupes to take the stage. A particular highlight for me was one of their opening sketches, in which most of the dialogue was delivered through kazoos. Whilst I felt that the set-up of the gag could have been more concise, it certainly paid off very well. Bristol seems to excel in the comedy of the silliest sort, as they are unafraid to lean into the quirkier side of university sketch comedy. This was proven once again by their sketch about a snowman gaining consciousness of his creator, portrayed wonderfully by Kit Del-Gatto, as he dramatically frets about the nature of his existence.
Where the Revunions fell slightly short, however, was the clarity of some of their sketches. For instance, their final sketch aimed to satirise classist tropes in films. Whilst this began as an interesting concept, it was ultimately let down by its messy execution, wherein its intended meaning was lost. I also felt as though some sketches were not as concise as they perhaps could have been, meaning their final punchlines didn’t quite hit the mark.
Nevertheless, Bristol’s troupe were undoubtedly strong performers and writers. A personal highlight for me was the ‘undone fly’ sketch, starring Aruntheny Kularaj, which landed particularly well with Durham’s audience. Their passion and energy were palpable, bringing a refreshing sense of playfulness to the Assembly Rooms stage that kept the audience engaged throughout.
Following the interval, the Durham Revue took the stage. My expectations for this year’s troupe were high, and they were met with tremendous ease. From start to finish, the troupe’s energy never faltered. From Jude Battersby’s portrayal as Barry Scott committing a home invasion, to Alice Barr’s impressive hairography in a car chase, the Durham Revue kept the audience on their toes through their hour-long set. The troupe must be praised for their self-awareness: writers and performers alike have an acute awareness of each member’s strengths and harness them to their full ability. For instance, the use of the oversized arm prop is expertly deployed in Lex Irish’s initial sketch, as one could not be blamed for assuming his limbs really are that long. Irish must also be commended for his infallible physical and vocal comedy. This especially shone in his portrayal of Golem in a sketch with Alannah O’Hare, as he transformed completely into his character. Despite Irish’s extreme characterisation, O’Hare was never overshadowed. She was, as always, a marvel to watch on stage. Even when performing solo, she consistently held the audience in the palm of her hand and never failed to leave them laughing.
Barr and Battersby are undoubtedly natural performers. Barr’s unfailing energy instantly charmed the audience, especially in the sketch where she repeatedly told Phoenix Ashworth’s devil’s advocate character to ‘shut the f*ck up’. Battersby’s facial expressions were effortlessly hilarious, as he commanded the stage in every sketch he featured in. Ashworth also deserves commendation for his conviction in everything he does: from a somewhat disturbing interpretation of a gecko, to his expert delivery of the ‘mental elf’ sketch (which was clearly a fan favourite), he brought a fearless commitment to each role that elevated even the most absurd moments of the evening.
On the other hand, some sketches felt slightly underdeveloped. At times, the humour seemed to rely on the performers’ accent work which, whilst strong in acting skill, felt like an easy laugh from a Durham University audience. This was particularly noticeable in the ‘agony aunt’ and ‘Hamlet in Ibiza’ sketches, which risked veering into stereotypes. However, with a little work on developing these elements, the sketches have the potential to become significantly more refined.
Overall, this collaborative evening of sketch comedy was a testament to the talent and enthusiasm of both troupes. The Bristol Revunions brought a bold, offbeat charm that, while occasionally in need of sharpening, showcased a flair for inventive absurdity. The Durham Revue demonstrated an impressive level of polish and cohesion, with each performer playing to their strengths and delivering consistently high-energy performances. Despite a few weaker moments across both sets, the night was a roaring success. I look forward to Durham Revue at Durham Fringe Festival in July, and both troupes at Edinburgh Fringe Festival in August – they are definitely not ones to miss in this summer’s Fringe season!
By Maariya Khalid.