Comedy

Da Vinci’s Laundry is based on an art world rumour. In 2017, Leonardo’s ‘Salvator Mundi’ sold at Christie’s for $450 million but some experts claimed that the attribution was inaccurate. Could the world’s costliest artwork be a fake? Writer, Keelan Kember, considers the provenance of a fictional Leonardo owned by a thuggish oligarch, Boris, who claims to have bought the masterpiece at a flea market. He invites two posh British experts, Christopher and Milly, to authenticate the painting and when Christopher questions its origins he earns Boris’s instant displeasure. Boris threatens to toss Christopher from the roof of his luxury mansion. Enter a brash American, named Tony, who wants to

By now, viewers of TV thrillers are no strangers to a baffling prologue – but this week brought a particularly extreme example. Nine Bodies in a Mexican Morgue opened with shots of a desert, a cactus, an animal skull nailed to a cross and a moustachioed man driving a battered pick-up truck with a Virgin Mary on the dashboard. So we were definitely in Mexico. For a while, however, that was about all that was clear, as the words ‘Day Nine’ flashed up and the truck’s unidentified female passenger spied on a dilapidated military base through binoculars. Nor did anything fall into place when the base’s soldiers talked about a

The theatre impresario Michael White rang me one day in 1964, and said he was presenting a play at the Lyric Hammersmith, where there was a small role he thought might suit me. The play was an adaptation of the novel Oblomov by Ivan Goncharov, where the eponymous hero spends most of his life in bed, unable to see the point of engaging with the world outside. It was being put on as a vehicle for Spike Milligan, who was said to be jealous of the success of his longtime partner in The Goon Show, Peter Sellers. Sellers had recently made a seamless transition from the world of anarchic comedy

Good Night, Oscar is a biographical play about Oscar Levant, a famous pianist who was also a noted wit and raconteur. The script starts as a dead-safe comedy and it develops into a gripping battle between the forces of anarchy, represented by Oscar, and the controllers of NBC who want to censor his crazy humour. The backstory is complicated. Oscar has been secretly committed to a mental asylum and his wife gets him released for a few hours so he can do an interview on Jack Paar’s TV show. It takes two long scenes to explain this improbable set-up but it’s worth it because Oscar (Sean Hayes) is such a

Edinburgh seems underpopulated this year. The whisky bars are half full and the throngs of tourists who usually crowd the roadways haven’t materialised. There’s a sharp chill in the air too. Anoraks and hats are worn all day, and anyone eating outdoors in the evening is dressed for base camp. Perhaps tourists don’t want to travel because they’re too depressed. That’s the specialism of Dr Benji Waterhouse, an NHS shrink, who writes and performs comedy about his patients. Dr Benji is an attractive presence on stage with his crumpled Oxfam clothes and his dreamy, half-shaven look. He could be the guy who tunes up U2’s guitars. His act is very

Every day my inbox fills with stories of panic, madness and despair. The Edinburgh Fringe is upon us and the publicists are firing off emails begging critics to cover their shows. If the festival is a national X-ray, this year’s image is shadowed by emotional frailty and a distinct sense of humour failure. The brochure is full of performers advertising their mental disorders (ADHD, OCD, PTSD, and so on), as if they were badges of achievement. The chair and chief executive of the Fringe say that the festival means ‘giving yourself over to the (safe) hands of our performers allowing yourself to be swept away by their creativity’. The word

The Four Seasons is one of those shows you notice in the ‘Top TV Programmes on Netflix’ section, see it’s some kind of glossy romantic comedy starring American actors you’ve vaguely heard of, and skip past quickly in search of something with zombies or subtitles. This would be a mistake though because, at least if you are of a certain age, you’re really going to enjoy it. I think the litmus test is whether you’re old enough to remember the 1981 Alan Alda film on which it is based, which I do, just about, vaguely. It’s that kind of movie where a bunch of old friends who have been holidaying

Rhinoceros by Eugene Ionesco is a period piece from 1959. It opens with the invasion of a French village by a herd of rhinoceroses. This paranormal event is never explained. In Act Two, the villagers start to imagine that they’ve become rhinoceroses and changed species. But one plucky sceptic, who defies conformity, refuses to swap his human character for an animal alternative. That’s it. Ionesco is offering the same arguments about peer-group pressure that Arthur Miller made with far more grace, artistry and psychological penetration in The Crucible. The show can’t decide what register to aim for and the cast are dressed in a mishmash of cheap costumes. Some wear

‘What will it take to make Richard Ayoade laugh?’ If you find this question about as enticing as ‘Whose turn is it to deworm the cat?’ or ‘What is Keir Starmer’s favourite plant-based ready meal?’ I really don’t blame you. But still if you watch Last One Laughing (Amazon Prime), I think you might change your mind. The idea of this reality series is to confine ten comedians for six hours in a Big Brother-style enclosure and ban them, on pain of expulsion, from being amused by one another’s jokes. One misplaced smirk gets you a yellow card; the next ill-judged titter and you’re out on your ear. The winner,

Punk rock, packaged, parcelled, and boxed up as a treat for nostalgic wrinklies. That’s the deal with Punk Off!, a touring show that recently completed a lap of the country at the Dominion Theatre. Most of the audience were there to recall their rebellious heyday. ‘It’s about to get really, really loud,’ announced the compère, Kevin Kennedy, as the four-piece band hammered out ‘Sheena Is A Punk Rocker’ ‘and ‘If the Kids Are United’. Both hits sounded eerily unfamiliar. Why? Those raucous, pulsing rhythms can’t be turned into elevator jingles or a background drone at a shopping mall – so we rarely hear them. Just as well. Kennedy rattled through

The White Lotus, now back for a third series, could perhaps be best described as Death in Paradise for posh people. Most obviously, this is because its plots revolve around murders in an idyllic location – only with a far bigger budget, a much starrier cast and several episodes per story. But there’s also the fact that it follows the same pattern every time. So it was that season three began this week, rather like its predecessors, with some lovely scenery, a dead body and a caption reading ‘One week earlier’. After that, we duly watched a bunch of rich, good-looking Americans arriving at a luxury White Lotus resort where

It is a truth universally acknowledged that lazy journalists begin every piece about Jane Austen with the words ‘It is a truth universally acknowledged’, so I’ll fight the temptation. In any case, the Miss Austen at the centre of BBC1’s new Sunday-night drama isn’t Jane, but her beloved sister Cassandra, best known for destroying most of Jane’s letters. Given that this has rendered our knowledge of the woman’s biography tantalisingly sketchy, Cassandra has attracted her fair share of resentment from Janeites. But rather cunningly, Miss Austen both exonerates her and takes full advantage of the sketchiness: high-mindedly questioning our entitlement to snoop into Jane’s private life, while feeling free to