I’ve been a huge fan of Stewart Lee’s for a number of years, and finally managed to get tickets to see the warm-up for his current show. I was nervous to say the least.
Yet my nerves weren’t the typical “OH MY GOD I’M FINALLY SEING MY FAVOURITE ARTIST OH MY GOD” nerves, they were the I’m-taking-my-girlfriend-to-see-somebody-there’s-a-high-chance-she-won’t-like nerves.
Lee, like an aged whisky, is an acquired taste. It would be unwise to make any snap judgements on him or his act unless you’re thoroughly prepared for it and well versed in his style, so I threw my girlfriend in at the deep end and surprised her with tickets to see the offspring of “the intellectual Oxbridge mafia”.
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I warned her she probably wouldn’t like him and he wouldn’t like her; the tension was palpable as we took our seats and awaited his entrance.
“Don’t bring your friends to see me,” he announces, “don’t bring your neighbours or partners to see me, they won’t get it.” A majority of the room erupts into laughter, the stragglers appear confused and offended, and coincidentally look like friends, neighbours and partners.
What ensued was Lee at his acerbic best, scathing with a dry sarcasm for anybody that came in his way: Paul Nuttalls from UKIP, ignorant reviewers and even the audience.
One of the most rapturous receptions was the aforementioned bit dealing with an unstarred review which stated that Lee had “contempt for his audience”. This was deconstructed with precision and persistence, tearing the reviewer’s argument to shreds through an in-depth analysis of his own comedic style describing the intricacies and dramatic techniques required to develop the persona that he presents on stage. Terrific.
This is a subject that I recently heard Lee discuss with musician and spoken word poet Scroobious Pip on Pip’s Distraction Piece’s Podcast (well worth a listen). In it Lee talks at length of how theatre is typically conflict and resolution, and this is why he works in the conflict between him and the audience, or him and another concept that helps form a dramatic tension.
This commitment to carefully crafting such technicalities of his act is what sets Lee apart from a lot of comedians working today. He’s a scholar of comedy: he simply knows what is funny and won’t hesitate to tell the audience to pick their game up if they aren’t laughing at his jokes because he, of course, knows better than them.
This subtle arrogance is enough to make him a very misunderstood character in comedy but one I’d not hesitate to see time and time again. Simply inimitable, he’s nowhere near done yet.
And for the record, my girlfriend is a fan. The relief is palpable.
Three Comedy Nights in King’s Cross
Crying Duck Comedy
Matthew Comras’ weekly Monday night features new material from established acts and short sets from up-and-comers, although they’re likely regulars to the circuit, in the upstairs room of Canal 125. 125 Caledonian Road N1
Another Free Comedy Night
There are regular chuckles at ace booozer Star Of Kings from the off-the-wall antics of Spectacular Spectrum of Now to more traditional stand up of That Thing is Comedy. 126 York Way N1
The Invisible Dot Ltd
This 50-seater comedy venue and production company is based in King’s Cross. It also operates from venues across the capital such as Soho Theatre and the Union Chapel, as well as touring nationally. 2 Northdown St, London N1
Room With a Stew runs until 8 Jan 2016. Book tickets via the website
Follow Brendan @brendanhodrien
