One4Review

Deirdre Robertson – D’NA Fash Lass (WIP) 3***

one4review — Tue, 24 Mar 2026 14:47:28 +0000

At a sold-out Tennent’s Bar in Glasgow, Deirdre Robertson premieres her first comedy storytelling show, digging into her adoption in the late ’60s and the long, looping odyssey to find her birth parents—unravelling DNA strands while trying to make sense of where they leads, in a forensic Jessica Fletcher investigation, unraveling the secrets, white lies and piecing together where her biological parents came from, what happened to them, and the surprising connections.

The show is a well-shaped hour that sticks to the golden rule: write what you know. The material is compellingly and Robertson keeps the audience fully invested, sidesteps tartan-tinted sentimentality and has sincerity with elbows in. While not leaning into overcooked theatrics, the visual presentation, particularly the screens, while adding texture is leaned on a touch too heavily, which is a shame when the story in it’s gloriously knotty complexity, is more than capable of standing on its own two feet.

Overall, Robertson is an immediately likeable presence, and most definitely a talent. While it’s a work in progress, like a family tree, it’s not just about the leaves on the branches; it’s about the solid roots and with a show like this that’s often the part that matters most.

***

Reviewed by Steve H

Tennent’s Laughter Lounge

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Olga Koch WIP ***** 5 stars

one4review — Sun, 22 Mar 2026 14:07:56 +0000

Olga Koch is a master storyteller and an exceptional stand-up. Parading the cracks in her personality through a rapid-fire barrage of jokes, insights, and personal truths that certainly made me — and I’m pretty certain everyone else in that packed-out room — want to befriend her.

Within the first ninety seconds, she had the entire audience in the palm of her hand. Roughhousing us with a rumble of jokes to our bellies — a pace she kept up for the entire show. During her opening, delayed by technical difficulties, she joshed with us all about the potential content of folders on her desktop – acceding gleefully to our suggestions as if we were genuine tech support.

Warmth, pizzazz, and relatability in abundance. Before long, we were all popped onto her knee, taken deep into her life and into the heart of America

Koch wove together strands from her high school first crush. Her university life crashing into the world of an older graduate. All of it bookended by her relationship with her best friend. The story jumped across time — which, during this work-in-progress, was adorably clunky. Framed through witty bite-sized explanations of landmark American feminist cases.

At times, it felt like hearing spilled tea. Others like watching a particularly scintillating documentary. Koch bounces between hilarious and enlightening. She unpacked the clever strategy behind these cases with a playful, stupid-on-purpose voice — part unreliable narrator. Pausing to poke fun at the music and fashion of the time.

The climax caught me completely off guard. I did not expect such an emotional gut punch. I could see tears in her eyes, and must admit – I felt them in my own. Koch pulled apart her own earlier bits as part of the problem – the very jokes we had gladly laughed along with her at.

Framing that guilt as her own. That guilt, I found myself happy to share. Credit to the rapport she built in an hour. Mocking herself gently with us as she pulled the trigger on a true flaw of a world of the past (I hope), and the painful cost of it.

The finale was brave, kind and truly genuine. Damn… she’s really funny.

*****
Reviewed by Stephen Sharp

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REMOVE YOUR SKIN PLEASE – Paul Currie 4 ****

one4review — Sun, 22 Mar 2026 13:56:09 +0000

Paul Currie has about three people actively enjoying the show in the first minutes. Everyone else is confused and, to be honest, a little scared, perhaps waiting for the show to really begin. No one wants to sit in the front row. There’s a sense of fear, a reluctance to be dragged into “whatever this is,” although he coaxes some people up front with a kindly smooth, wry goading.

Then Kapow! An atomic bomb of joyful energy. He eviscerates the room into vibrant shaking laughter. Every bit strange, avant-garde and relentlessly silly. After a while, you start to think that each bit seems to follow its own paradoxical logic, then the next sketch abandons it completely until you forget to keep track and just start just enjoying the moments. Slowly, magnetised into Paul Currie’s fun magisterium.

A full onslaught of intricate, joyful silliness. It’s irresistible. I found myself gritting my teeth at first, but as the show came to the boil, I was grateful to be part of it, like the funniest kid in school had invited you into his gang that you initially said you didn’t want to join but found yourself laughing and hanging with them against your cool instincts.

He’s an incredibly funny man. In the riffing, he’s wacky, playful, sharp. He says, “this stuff writes itself,” then fires off six or seven improvised lines in a row to a cackling room at The Stand in Glasgow. His interaction with the audience, the tech, even the wall ! Pure joie de vivre. Paul Currie could resuscitate an emotional corpse, and tonight I think he possibly did – mine.

What’s striking is the distance travelled. Those first minutes feel miles away by the end. As he peels back his own layers, he peels ours too. It’s brave, both in the vulnerability of what he shares and in committing fully to something truly this strange. Parts of his personal journey sit abruptly against the comedy, but with that smoothed out, this is surely a five star show.

The laughs are different. Not punchline laughs of recognition, but joyful ones. If I had to sum it up, this show is getting to play with the most fun imaginary friend that anyone has ever imagined ever – for one solid hour. I’ll think about the asparagus bit for the rest of my life, but there are dozens of moments like that, silly – yes , smart – maybe? I don’t think that matters.

Breaking the hard part of a well trodden path that we expected coming in. Planting seeds of joy in each of us. The binding magic happens when he’s got us up there with him – it’s just amazing fun to see a fellow muggle take his lead from stage – getting catalysed with silliness, More of that please!

Many comedians are smart. Many are funny. Few have big hearts, and fewer still connect theirs with yours and everyone else’s.

By the end, there’s a warm, silly “we’re in a gang” feeling that wasn’t there at the start. The inventiveness and creativity brought in abundance remind you that being alive can be a privilege, a fun one at that!

Paul Currie doesn’t just shed his own skin. As he peels off yours he resuscitates the fun kid inside you.

★★★★

Reviewed by Stephen Sharp

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Whyte Noise – Dalgety Bay Folk Club 13th February 5*****

one4review — Sun, 08 Mar 2026 20:31:08 +0000

It was a warm summers day on Edinburgh’s Royal Mile during the Fringe that I came across a rarity, a Scottish folk band performing their mixture of well-known songs and a selection of their self-penned material that was attracting a crowd of several hundred people. Eager to find what was going on I joined the throng and spent the best part of an hour enjoying their performance.
Whyte Noise is a family band, Ciaran Whyte on guitar, drum and vocals, his dad Gordon on keys, accordion, fiddle and vocals and also mum Susan on bodhran and vocals. I made contact with them and booked an appearance at my local folk club for a full set.
The weather in February was anything but warm, but a full house of members turned out and the fare that they received had everything that any folky fan would love. There were traditional songs, sing-along songs, delightful original material, all delivered with humour, banter and warm flowing performances throughout.
Although they had not played for most before, there was a lovely feeling of inclusion, almost like the audience had been adopted into their family for the evening and the stories behind some of their own material, were both inciteful and endearing.
But it was the rip-roaring numbers that absolutely delighted the crowd most, Sam the Skull, Jelly Piece song, Doon in the Wee Room for example, got one and all singing and clapping along, seeking more merriment and garnering appreciation of the immense talent and personality that was displayed throughout. But there was also appreciation for slower ballads such as Burns’ Aye Fond Kiss where Susan’s pure voice excelled. And of course there was The Whisky Song, with every single malt distilled in Scotland getting a mention, finishing off with Rattlin’ bog to send everyone home delighted
It is fair to say Whyte Noise ticked every box., appealed to all, and more than one long-standing member went as far as saying that they were the best band that have ever performed for the Folk Club, and given some of the bands that have played previously that is some ringing endorsement.

Whyte Noise have been nominated as one of the best newcomers at the forthcoming Live Music Awards, truly deserved.

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Gridlock 4.5****

one4review — Sun, 08 Mar 2026 19:13:01 +0000

Annika Foster is a Texas born actress last seen on stage in Los Angeles, she brings her heartwarming true to life show to Glasgow as a prerequisite for the forth coming Edinburgh Fringe.

The show begins with Annika and Gunnar stuck in a traffic jam on their way to a relationship therapy session. The couple have been in a content relationship for 7 years and hit a point in their relationship where their future visions are not aligned. As a petty argument ensues, both take us back to key points in their relationship that highlight subtle differences between them which at the time were brushed aside but have now come to the surface.

The irony of this play is they are more ways than one, stuck in a jam or Gridlock, and not moving forward yet take us on a rollercoaster ride of their 7-year relationship, laughing one minute and confrontational the next. It becomes apparent that Gunner is happy to plod along but Annika is looking for Gunnar to commit to something more permanent as the years have ticked by. A trip away to a B&B has Annika’s hopes raised especially as all her friends have convinced her
that Gunnar will propose but is Gunnar finally on the same wavelength?

As the show draws to a close, Gunner seems to have a reality check and realise what Annika has been wanting for a while, the question is, has he realised in time and does Annika still think Gunnar is the one for her? The show ends on a real cliffhanger that has your mind going in two different directions.

This 40-minute show is a wonderful performance that has you gripped from the outset, their relationship is no different from many others which many audience members later stated they could relate to. An excellent piece of work that really pinpoints true emotions and crucially defines how a relationship can be misinterpreted from within by both male and female perspectives.

Reviewed by Steve J

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Beauty & The Beast – The Panto – Stagedoor Entertainment (Porty Panto) 4****

one4review — Fri, 12 Dec 2025 12:03:38 +0000

I love a good Panto, oh no I don’t, oh yes I do!! And let me tell you this is a very good one.

At Portobello Town Hall a near packed crowd were entertained by a stellar cast and a right “guid time” was had by all.

A bit of a modern twist with some cracking vocals, particularly from the female cast members made this show a real Beauty! Beira the Queen of Winter, played by Christine Mills, gave an outstanding performance from her very first number to her last. Bravo. Her stage presence was amazing and boy can she belt out a tune.

Bella, played by Sarah Alexandra Brown and Erin Robertson as Will-O, both delivered strong and confident musical numbers which added to the overall experience.

There was the usual puns and slapstick in bountiful proportions, played well by Alec Westwood and Ross Jamieson as Bonnie Scone and her hapless son Tattie, and while some of the gags were a little bit cheesy, they kept the crowd entertained.

I’d like to praise the dancers who looked like they were having the time of their lives on stage, with boundless energy and enthusiasm as well as permanent smiles.

Special shout outs to costume and wardrobe, wow, and also to lighting, both helped to make this a panto to remember.

This production delivers on many levels and although it may be in a wee town hall, it can hold its head high and compete with much larger productions.

A thoroughly enjoyable evening had by all.

****

Reviewed by Gavin

Portobello Town Hall

5th to 28th December 2025

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The Fifth Elephant : Pleasance Theatre 7th December 4****

one4review — Mon, 08 Dec 2025 22:03:58 +0000

Terry Pratchett’s The Fifth Elephant is another chapter in his opus Discworld/City Watch legacy.

The plot involved Commander Vimes, sent to Uberwald on a diplomatic mission.

With his merry band of misfits he must navigate the theft of the sacred royal coronation Scone of Stone, werewolf and vampire political misdirection and conspiracies that threaten everyone’s way of life. Will they succeed?

What becomes obvious is just how ahead of the curve Pratchett was with his subject matter, and with the political hopscotch from the past that, at the moment, feels uncomfortably familiar. History doesn’t so much repeat itself as regurgitate, and Pratchett, in his genius, was already there — chopping down convention, skewering gender roles, and dismantling pomposity with a grin. That spirit comes through in this adaptation.

One of the production’s strengths is keeping Pratchett’s continuity of characters intact; they tend to keep the same cast, and as a unit they are excellent. Chris Allan, with the lion’s share of stage time, again excels as the grouchy, crochety Vimes. Ben Blow almost steals every scene as his wife, Lady Sybil, while Alan Sunter brings great character work to Igor. Amber Lipman shines as Cheery the dwarf, and Alex Card makes for a solid, steady Corporal Carrot.

It should be noted that the show is long, but the production zips along with enough twists and turns to leave Benoit Blanc redundant, all delivered in Pratchett’s signature style. The staging is first class. Costumes, and puppetry are smart and unobtrusive, relying on the characters to shine rather than leaning on overused lighting or effects.

In the end, this production is proof that Strawmoddie are consistently one of the best at putting on Pratchett adaptations, accessible to the rabid fans and the casual viewers alike.

****

Reviewed by Steve H

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Kerris : Getting On. 30th November 4****

one4review — Wed, 03 Dec 2025 09:57:40 +0000

North Tyneside stand up Kerris Gibson, as part of Newcastle Stand’s New Direction season premiers a new hour show. The stage is set out like a low-key backstage comedy venue. Kerris is having 99 problems – technology is against her, the warm-up act has bailed at the last minute, and the venue staff are being prickly. Add to that the chaos of family, toxic boyfriends, dating apps – things are building up, the voices in her head are getting louder, and the clock is ticking.

The cracked-actor/artist setup isn’t anything new, and it can be a clunky template for lesser mortals to navigate. But after ten minutes you’re settled in and comfortable in the space. What helps is that this isn’t a stroppy diva “do you know who I think I am?” rant. You relate to the everyday issues she’s facing. You sympathise with the fact that she’s not just sweating the small stuff — the water is rising, and she’s in real danger of drowning.

In between the chaos, the self-reflective segments — or, as she calls it, a “carousel of regret” are a joy. Her take on anxiety and self-deprecating body fears is encapsulated perfectly in the brilliant bra-fitting-cum-sado-masochist-fetish discovery. And her material on keeping her Geordie identity in London is a highlight, going down especially well with the home end.

Kerris does what all good artists should do to maximise results: she writes what she knows, because dishonesty or fakeness would be sniffed out a mile off. She may be on virgin territory with this setup, but she’s not out of her depth, and she shines like a renaissance performer. Simply put, she’s a very good stand-up comedian — but tonight, at points, especially when dealing with the darker issues, she is absolutely devastating.The Stand Newcastle continues to champion new voices, and Kerris shows precisely why the high standard of Northern female comedians is not only on the rise — it matters.

****

Reviewed by Steve H

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Nicola Mantalios: Scathed -30th November 5 *****

one4review — Wed, 03 Dec 2025 09:05:12 +0000

Fresh from winning the prestigious Funny Women Stage Award, Nicola Mantalios brings her new show home to Newcastle. Right from the off, with the stage awash in a deep red glow, it feels different to the usual stand up that graces The Stand. With an eerie, almost ethereal soundtrack woven by Beccy Owen from the accounts of the1580s witch trials, the mood is set perfectly, with the promise of something wicked this way to come.

Mantalios steps on stage and immediately launches into a daft but very funny debate about where North, South, East and West actually are, firing off those sharp barbs she’s so good at. Then we have a synopsis of the show, built on witches and the Triple Goddess’s, representing the three phases of feminine life: youth, fertility, and wisdom. The audience is under her spell.

The first two sections take us through her early life growing up as a Jehovah’s Witness in Jarrow, her experiences as a mum, teenage fake-tan meltdowns, relationships, and even decompressing life choices in the calm of a cemetery. It’s funny, heartfelt, and she’s ablaze like a pyre of fire.

But it’s in the third section, worth the price of admission alone, where the show goes gloriously full tilt boogie from the earlier lighter shade. She uses her Greek background and mythology not as decoration but as witness, threading women’s struggles through the ages with modern parallels, including a masterclass in how to handle toxic male bravado, proving that standing up to badly placed misogynistic curiosity absolutely kills the twat.

Mantalios’ writing is excellent, As a stage presence, she’s in complete control and tonally spot-on.

She’s confident, and unafraid to shine a light on injustice or heavy subject matter without ever losing the audience.

This is a smart, sharp and at times brilliant theatre piece that brings to the fore a major talent. On this showing, the North East has produced yet another comedy troubadour to get excited about.

******

Reviewed by Steve H

The Stand Newcastle

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Sarah Bradley – Just Like Other Girls. Gael and Grain, 15th Nov. 4 ****

one4review — Wed, 26 Nov 2025 14:58:00 +0000

New Zealand-born comedian Sarah Bradley brings her part-TED-talk, part-autobiographical, well-received Edinburgh Fringe show to Glasgow.

Before the main event, we are treated to the stylings of another Glasgow act, Ifrah Qureshi, who delivers a short set dealing with life as a Scottish Muslim through a tartan kaleidoscope, family life and slapping down racial stereotypes at kitchen parties. What is apparent is the strong writing and a cutting political edge, rarely seen these days and certainly not in someone so young. If she continues on this trajectory, she’s definitely going to find her audience sooner rather than later. One to watch.

Bradley’s turn now: she enters low-key, clicker in hand. The show is simple — if you’re not one of the girlie girls, what is it in your DNA that makes you the other? Being born and raised in New Zealand, we’re taken through the highs and lows of millennial nerdom: finding individuality, comparisons to strong female leaders (good and bad), pop-culture references like Lord of the Rings, Hilary Duff’s clothing choices, Star Wars, and boy bands — all of which gravitate in constructing who she is now.

As good as that is, 20 minutes in she moves up a gear. The Taylor Swift fandom broken down scientifically is an absolute joy — from casual watcher to obsessive fan, gig by gig, album by album — like a comedic Hannah Fry.

The balance is spot on, a well-oiled machine with plenty of laughs both during and between slides, and entirely relatable: discussing hilarious weaknesses, nerd crushes (some obvious, some thought-provoking), the joys of parents’ record collections, and another great turn on how spicy romance books — often considered a lesser art form — should be celebrated by all. By the end, millennials will see a similar glittery soul; parents may just understand their kids a bit more.

The secret sauce of why Bradley’s hour succeeded is she’s sharp, funny, likeable, and not only an everywoman; she’s everybody. She also sidesteps the usual comedy traps of this type of show with well-researched material and with a licence to entertain, running her PowerPoint PPT like James Bond with a PPK

All considered its great hour with someone who, on this showing, has found her groove with no skips or crackle and is moving up a peg on the comedy ladder.

****

Reviewed by Steve H

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