Reviews
Ed Fringe Review - 5 stars
Following in the footsteps of their successful run with Cody and Beau, subtly referenced even in this piece, Dylan Kaeuper and Will Grice return, now with Rufus Goodman, in The Joker and The Thief. As a fan of their previous Fringe endeavour, it is safe to say I am just as ecstatic about this returning show. This time, their ingenious writing takes us back to the 1980 Edinburgh Fringe where ex-comedic double act Sid Michaels, suffering in the comedy scene, and Larry Langford, significantly more successful, reunite after five years and their history begins to unravel right in-front of us in the 45 minutes before Langford is due to perform at the International Festival. This script feels utterly authentic, which is only a testament to how well-constructed it is - from the witty one-liners to the overlapping arguments (in which no single line is lost), the audience can easily forget they are watching a piece of theatre, instead feeling like flies on the wall of the very dressing room it all takes place. What this writing does most effectively is truly gauge the balance between the all too familiar grassroots comedy we see at Fringe and the luxurious lifestyle adopted by comics like Langford; namely the divide between the ‘real comedian’ and the ‘personality.’ The stand-up material that is interspersed throughout, including the awkward opening set, is genuinely enjoyable to watch, demonstrating the natural comic ability within this trio of performers. The performances only elevate the nuance already prevalent in the script. No character is black and white and there is a pure human understanding emanating from each actor onstage. The chemistry oozes through the space, with the most enthralling scenes being the ones with all three actors, including a stand-out slapstick, physical comedy sequence which leaves the audience rolling on the floor with laughter just as much as the actors. Moreover, each performer understands how to use this space: with a thrust-style stage, it can be hard to navigate blocking and ensure each audience member is immersed, yet this is not an issue for this cast. They command the room, and glide through the space with a natural instinct, inviting the audience into the world from all angles, with an ease that many actors aspire for. Will Grice’s Sid is bumbling yet charming and every expression invites the audience into his mind. In a beautiful, almost cinematic sequence, we see Grice illuminated by a tv screen (a credit to some exceptional lighting design) and we witness him cycle through all the emotions as he rewatches the night his friendship fell apart. Not a single line of dialogue is spoken yet Grice is able to reveal all with just a subtle twitch in his smile. Dylan Kaeuper imbues Larry with a cheeky charisma, making it entirely believable that he is the 'man of the hour' in this story. His suave physicality aids the dry delivery he provides with Langford, and yet the sympathetic nature of his character is incredibly clear - he masters the balance of conveying both Langford’s facade and the true being within him; a feat which is by no means simple. New addition Rufus Goodman is a stand-out as the conniving Howard, manager to Langford, and Goodman possesses the energy of De Niro, Pacino and Scorsese himself, all rolled into one. His accent rolls off the tongue with ease and his quick-witted quips towards both comics are some of the absolute comic highlights of the piece. He excels as the sly puppeteer, having some really chilling moments amongst the Freudian slips in his dialogue which capture a palpable tension in the show.This show is a real triumph: exceeding in its writing, its performances, its direction and its technical choices. This pair is working at a standard that many strive for but can never quite reach and if I must, I will remain sitting in my very seat waiting for what they bring next.
- Lauren Williams
Broadway Baby - 4 Stars
Double acts going solo is a known trope within the world of comedy. As is the struggle of trying to cut through at the Edinburgh Festival Fringe. The Joker and the Thief, at theSpace @ Niddry St, explores the struggles of finding comedic success brilliantly, in a show which highlights the stresses of working together and how the chase for fame and attempting to find success can impact yourself and who you work with. The Joker and the Thief sees former double-act members Sid (Will Grice) and Larry (Dylan Kaeuper) return to Edinburgh in 1980, with Sid playing out of a traditional Fringe comedy cellar, while Larry takes a headline stage at the international festival. The two eventually reunite and attempt to reconcile over their breakup as an act five years prior, and cope with clear differences in success. The story, a well-known one in the fields of Fringe theatre, is incredibly tightly written and feels fresh and compelling. The two comedians reveal the impact of the stark difference in success excellently, from Sid’s slight nervousness both on and off stage to the relaxed and outlandish comedy agent Harold (Rufus Goodman), and Larry’s initial casual confidence, slowly being eroded away as Sid discovers more about what transpired the night his double act split. The slow burn you see across the show is also a delight to behold. There remains a clear desire between Sid and Larry for the possibility of reconciliation, even in spite of Harold’s frequent attempts at driving a wedge between the two. The clash points between each of the cast members feel earned, and play brilliantly off the slightly awkward tension that exists between each pair of Sid and Larry, Sid and Harold, and Larry and Harold, leading to both hilarious physical clashes. With the rise of ever more professionalised Fringe acts, and increasing competition for a chance to break through, The Joker and the Thief is a poignant commentary on the impact of theatrical success on friendships, and the cost of striving for artistic glory. Written by Kaeuper and Grice, the narrative is tight, punchy, hilarious and a delight to watch unfold. The cast bring to life the stark differences in the levels of stand-up success, adding further hilarity and heartbreak to a well-developed relationship, struggling with divergences in career paths.
-Ewan Woods
Theatre and Tonic - 4 Stars
Comedy duos have been a staple in light entertainment for decades. Set in 1980, this story sees a former duo reunite at the Edinburgh Fringe - one of them is still a star, the other's star is fading. Can they recreate the old magic or will the secrets from their past dull the spotlight? It's written by a duo - young theatre makers Dylan Kaeuper and Will Grice, following last year's offering, Cody and Beau: A Wild West Story. I saw this play when it came down to London and wrote that I was keen to see what they did next. Fast forward a few months and my wish is granted! Kaeuper plays Larry – the big success, about to perform at the Edinburgh International Festival to an audience of 2,000 in the city’s most prestigious theatre. He’s even got royalty in the audience in the form of Prince Edward (a few years before his short-lived “career” as a production assistant for Andrew Lloyd-Webber!). Grice is former comedy partner Sid, who is performing his stand-up at the Fringe, in a cellar with capacity for around 20 people. Their awkward reunion happens backstage, just before superstar Larry’s big gig – and is overseen (refereed even) by Larry’s agent, Howard, played by Rufus Goodman, who slots in perfectly with Kauper and Grice. The writing shows a maturity beyond the years of this young team – it’s well researched to place it in its 1980s setting (Prince Edward!) and the dialogue between the former partners feels very natural and as if it’s built on their years of partnership and acrimonious split. Seemingly on the sidelines, Howard becomes a key player in the break-up – it’s very well structured. The action doesn’t focus on the history of Sid and Larry as a duo, but on the moment it all fell apart. As their meeting progresses, we learn that each has a reason to blame the other. Did Larry sabotage their performance or did Sid betray Larry? The differences between the two men offer a strong observation on the entertainment industry and whether money or art is king. Larry has a team of writers now and has made millions, Sid proudly writes his own material but performs to tiny audiences. But which one of them is truly satisfied with their life? As the recriminations build and the truth starts to come out, the scene descends into a brilliantly choreographed fight sequence involving the three actors – they all deliver committed and impressive physical performances, again all appearing very natural and not at all staged. By the end of the play, my mind had changed a few times as to who was the joker and who was the thief, that’s part of its appeal. It’s a very well crafted journey, although at the end the conflict felt as if it had reached an easy resolution given the increasingly dramatic build up that led to it. It’s a very entertaining hour of theatre that has plenty to say about fame, friendship, betrayal and seeking closure. Dylan and Will have produced a strong story about the breakdown of a long-term and close working relationship – one that I sincerely hope never applies to this promising creative team.
- Penny from Theatre and Tonic
One4Review - 4 Stars
The Joker and The Thief is a nicely constructed comedy-drama about friendship, ambition and the very different paths two former comedy partners have taken. Set during the 1980 Edinburgh Festival, it begins with a striking contrast. Larry is now a megastar, headlining at the International Festival in the Usher Hall in front of royalty and the great and good of the comedy world. His material is scripted by others, and his professional life is carefully managed by Howard, the man who seemingly controls every aspect of his career. Sid, meanwhile, is still plugging away as a stand-up comedian and is appearing at the Fringe, performing in a damp cellar and relying largely on ad-libbed material which can be brilliantly funny one moment and fall rather flat the next. Five years after their partnership ended, Sid arrives at Larry’s dressing room hoping to repair their fractured relationship. Howard is distinctly uncomfortable about their reunion and is reluctant to leave the two men alone. As the encounter progresses, we begin to discover why, with Howard’s own history with Sid adding another layer to the story. Exactly what part he played in their past, and what motivated him, keeps the narrative moving.
There are some excellent one-liners, and the script maintains a good pace, balancing comedy with a developing sense that there is considerably more to this reunion than initially meets the eye. This is a good script, a strong premise and a narrative that maintains interest throughout, The Joker and The Thief is another example of what the Fringe should be about: giving emerging talent the opportunity to develop and allowing audiences to discover it. This performance is well worth seeking out.
-Howard from One4Review
Rialto Arts - 4 Stars
It’s 1980, and the Edinburgh International Festival is in full swing. Larry is a star. He has flown in from the United States to perform five sold-out shows at the 2,000-seat Usher Hall, with royalty and celebrities in attendance. Meanwhile, across town, the Fringe tries to hang onto the Festival’s coattails – times have certainly changed. Sid is playing in a barely functional basement to a small audience. Yet it wasn’t always this way. Five years earlier, Sid and Larry had been a successful double act. They parted ways, however, somewhat acrimoniously, and have not exchanged a word since. Together with his manager Howard, Larry is in his opulent green room, preparing for the show. Then Sid arrives at the door. But he’s choking and Howard attempts a Heimlich manoeuvre; however, it turns out to have been a clowning routine. Howard is immediately unsettled by Sid’s arrival. It’s clear that Larry and Sid would like alone time to catch up, but it’s equally clear that Howard is most reluctant to facilitate this. The relationship between Larry, the star, and Howard, his representative, is not quite what one might expect: Howard is very much in control.
The production develops with disjointed conversations and fragments of memories surrounding Sid and Larry’s break up, with Howard an active participant. For much of the show, however, it seems that much remains unsaid. When the full picture is finally revealed, it leads to a riotous denouement. The Joker and The Thief is presented by Dylan and Will Theatre, following their successful debut last year with Cody And Beau. This new production is a well-crafted, fast paced and funny hour, that explores friendship, associates and shining a light on the darker dynamics of the entertainment industry.
Part of the appeal of this show lies in the nostalgic glimpse of the world 45 years. This was an era in which the Fringe could barely muster any attention, bad suits and ties were de rigeur, mobile phones or internet didn’t exist, and video recorders were an expensive novelty. Dylan and Will Theatre authentically recreate this bygone time. The performances are all impressive. Rufus Goodman’s Howard is about control and protection – but is he seeking to protect his client or himself? Dylan Kaeuper’s Larry is tentative, seemingly embarrassed by the career chasm that now exists between him and Sid. Perhaps he feels some guilt about the vastly different paths that their careers have taken. Will Grice’s troubled, embittered but still performative Sid, is perhaps the highlight though. A thoroughly entertaining and poignant hour; Dylan and Will remain ones to watch.
-Roger Kay
London Theatre 1 - 5 Stars
At the 1980 Edinburgh Fringe, Sid Michaels (Will Grice) is performing in a basement bar space. His former comedy partner, Larry Langford (Dylan Kaeuper) is the headliner at Usher Hall for a few nights as part of the Edinburgh International Festival (the one that rejected certain acts back in 1947 who hired venues and brought their shows to Scotland anyway, thus birthing what became the Edinburgh Festival Fringe) following what transpired to be a sudden parting of the ways from Sid after a successful comedy act duo had run for a number of years.The aptly-named Howard Burden (Rufus Goodman), Larry’s manager, hosts a press conference, and almost inevitably the journalists want to ask about Sid and Larry (or was it Larry and Sid?), because, as they are aware, five years since their acrimonious split, they are both performing in the same city at the same time. The setting was important, even if it meant somewhat contrived references to the time period: it was around the time stand-up comedy was becoming more established at the Fringe (I’m not sure, looking at the EIF’s current programming, whether it ever became properly established at Usher Hall). The contrasting central characters lean into stereotypes – brash, confident American swagger versus an unassuming and grafting Englishman. That they meet at all is no thanks to Harold, who is immediately dismissive of Sid even as Larry insists he wanted Sid to come, so he’s rightly in the dressing room by invitation. What then follows is a gripping and tense conversation, in which, layer by layer, what ‘really’ happened is disclosed. A moment of physical theatre added some comic relief to the show, and provided cathartic release for the characters’ pent-up frustrations. There was much attention to detail, too – the dressing room as well as the costumes had a 1980s feel to them (you just don’t see comedians at the Fringe going on stage wearing a tie these days – and, frankly, why should they?), and there was a VHS player and old-school cathode ray tube television. Briskly but not over-frenetically paced, every line was delivered with crystal clarity. Thoroughly engaging from start to finish, this was a gritty story about the pursuit of success and the fragility of friendship
- Chris Omaweng
The Recs - 4 Stars
Last summer Dylan Kaeuper and Will Grice brought their first show, Cody and Beau, to Edinburgh Fringe. A most impressive debut, the play centered on two young, naive friends determined to make their way in the Wild, Wild West. This year Dylan and Will Theatre returns to the festival with The Joker and the Thief, and once again a friendship is the central focus, only this one’s in tatters. Grice plays Sid Michaels, half of a former comedic duo who’s watched from afar as his former professional partner and close friend, Larry Langford, has successfully scaled the heights of show business. Larry has been invited to perform at the 1980 Edinburgh International Festival, with Prince Edward in attendance; Sid’s stuck doing Fringe, and has had a tough go of it in the five years since Larry unceremoniously dumped him and went solo. As the ominously named Howard Burden (Rufus Goodman, terrifically funny), Larry’s talent manager, puts it: “He makes millions. You make jokes.” And not always good ones. The play starts with Sid doing a flailing set that Larry secretly watches, curious as to how his friend is faring professionally. Afterwards, Larry leaves a note inviting Sid to visit him backstage before his EIF premiere, and the rest of the play is set in real time, the 45 minutes in Larry’s large dressing room before he has to perform. Polite awkwardness — Sid and Larry have not spoken in the five years since they split — is soon replaced by confrontations and revelations, and The Joker and the Thief reveals itself to be a Fringe rarity: a classically structured play. And that’s not the only pleasant surprise. This confident production is in so many ways — acting, story, production elements — a giant step forward for Kaeuper and Grice; the pair excitingly display an abundance of talent to support their artistic ambitions. Most importantly, whereas Cody and Beau was clearly inspired by Xhloe and Natasha, acknowledged favorites of Kaeuper and Grice, The Joker and the Thief is a solid declaration of their own strong voices. Let them long be heard.
-Randall David Cook
The Student - 4 Stars
Writers and performers Dylan Kaeuper and Will Grice return to the Edinburgh Fringe with their new show The Joker and the Thief, bringing with them roaring laughter and delightfully committed period dressing. The play is set in comedy star Larry Langford (Dylan Kaeuper)’s dressing room in 1980 as he prepares to take the stage at the Edinburgh International Festival for his British debut. His old comedy partner Sid Michaels (Will Grice) is performing in the same city to a much smaller crowd in pub basements, telling jokes about his brush with the beginnings of fame. The two may well have remained history but, unbeknownst to his manager Howard Burden (Rufus Goodman), Larry Langford invites his old comedy partner over to… gloat? make amends? reminisce? All of the above play out. At its best, The Joker and the Thief breathes life into 80s comedy attitudes, egos, and stakes, gleefully taking advantage of how much chaos can be passed off as showbiz. Goodman in particular shines as the Brooklyn-native opportunist, marionetting would-be talent into a marketable personality. His performance was enlivened and studied, bringing all the best laughs, with sleazy gags and exasperated jabs—expect “Yoko Homo.” The comedy duo is brought to life—in a somewhat meta way—by Kaeuper and Grice five years after their break-up. In their dialogue, Kaeuper really comes into his stride, bringing nuance to the otherwise typically shallow and myopic entertainer trope. Grice plays the unsettled insecurity of a would-be star well, opening the show excellently in snippets of stand-up but similarly finding his footing in the dialogue. Over the course of the hour the basement venue of SpaceTripleX plays witness to old grievances and betrayals culminating in a brilliant, panicked confrontation that left audiences reeling in laughter. The writing is self-aware and well-paced, but above all exciting from such young performers brushing off the airs of student theatre. The play succeeds most in shining a flattering light on the whole cast as ones to watch.
-Honor Davis
All Edinburgh Theatre - 4 Stars
Dylan and Will Theatre transports us back to Edinburgh in 1980 with The Joker and the Thief at theSpace, a time when the city was a cheap place to stay during August and stand-up comedy was coming to the fringe for the first time courtesy of Alexei Sayle. This is a brand new play from company founders and writers Dylan Kaeuper and Will Grice. Using the 1980 festival as their backdrop, the play centres on Sid Michaels and Larry Langford, an English comedian and his American double act partner from the decade before. Their rise to fame ended when a show that could have led to their big break went wrong leading to Sid exiting the stage and returning home. Larry, played by Kaeuper, is making his UK debut with a five-night run at Usher Hall as part of the International Festival; while Sid, played by Grice, is at the other end of the bill playing in a twenty-seat capacity cave for the duration of the Fringe. The play sees the two meeting up again, against the wishes of the appropriately names Howard Burden, Larry’s manager (Rufus Goodman), who is keen to protect his prize asset and get him onto the stage in 45 minutes time. The script is clever and engaging even if it could have been borrowed from a Columbo episode, and setting the play at a later time or a different location may have been a better option than some of the tenuous connections to the 70s and 80s they have pushed themselves into using because of the setting they chose. Grice plays Sid with the unassuming air of an unknown comedian feeling his way into a career at a time when his style of stand-up was starting to fall out of fashion. He contrasts nostalgia for his days in the double act with a desire to see his old friend do well, even as he wonders about why their last show ended the way it did, Kaeuper’s Larry is brasher and more self-confident but conveys a sense of unease with his status as a successful comedian reliant on a team of writers to please an audience who are waiting for the next joke as soon as they’ve heard the last one. His mixture of pride and bashfulness as he names celebrities he’s opened for illustrates this sense of mild embarrassment at what he’s becoming. As Howard, Goodman is duplicitous and cunning. Initially relentlessly positive and enthusiastic as only an American agent could be, he descends into a more manic state as he tries and fails to prevent the comics from meeting and from secrets emerging. The fight scene coordinated by Rebecca Mahar is both comic and convincing. Emily Louise Brown’s costume design is effective in recreating the contrast between standard uniforms of British and American comedians. Nice touches such as a union jack bow tie add to the authenticity of the insincere crowd-pleasing tricks used to try and get audiences onside.
-Tom Ralphs
Fringe Review - Highly Recommended
Following the success of Cody and Beau, their Fringe debut spoof western production last year, Dylan and Will Theatre are back with something quite different in The Joker and The Thief and, judging by last night’s performance, this pair of writer/performers have produced another belter of a show. It’s 1980 when the Fringe is, well, still a fringy thing, where alternative comedians experiment in dingy venues whilst the prestigious International Festival hosts the big guns in the bright lights. Sid and Larry, former partners in a double act, are in town, though they haven’t spoken since they clashed 5 years ago and parted acrimoniously. Meantime, Larry has acquired a promoter, Howard, together with international stardom and its related trappings and arrives to play the International Festival to a sold out run in a venue seating thousands. Sid, however, is playing in a basement, edge of town venue to a handful of punters, his act built on stories about the days with his erstwhile friend and partner. When Larry discovers he’s become part of Sid’s routine, he suggests meeting ahead of his opening night, allowing Sid to see how the other half lives, including Larry’s capacious dressing room with everything on tap, complete with the pensive, wound up Howard. But, as the minutes to Larry’s curtain up tick inexorably away, the circumstances that led to their cataclysmic bust up are revealed like the layers of a peeled onion, leaving the pair with no alternative than to face up to the real cause of their parting. We open with Sid (the superbly convincing Will Grice) delivering his act in the dingy basement Fringe venue – the only place he can afford to hire these days – rattling off a series of pretty lame gags greeted with almost complete indifference by his audience (yep, that’s us playing our part to perfection). Thirty seconds in, and the wheels start to fall off the bus as a series of “technical difficulties” (principally some very creative lighting malfunctions), bring the show to a shuddering halt. Cut immediately to the opulence of a major venue dressing room where Larry (played with the swagger of a star by Dylan Kaeuper) is being prepped for his opening night by his promoter Howard (the Machiavellian Rufus Goodman). But, whilst Larry is clearly the star in this partnership, it’s evident who’s pulling the strings. These opening scenes set the standard for what was an hour of captivating theatre. All the key elements are present and correct including a tightly crafted script, exquisite characterisation (that was never in danger of slipping into caricature), crystal clear delivery, pace but enough space to allow the audience to assimilate the latest plot twist and staging that was as inventive as it was painstakingly crafted – every nook and cranny of theSpace Triplex thrust stage utilised to good effect. Attention to detail is another hallmark; the 80’s style video player; the costuming; the set laid out as an opulent dressing room that, with an appropriate lighting refocus suddenly becomes dingy Fringy; the choreography deployed to keep the tension building when all three are on stage; an exquisitely crafted and delivered full on rolling fight on the carpet as tempers fray. The way little hints and clues as to the cause of the split are scattered into conversations is engagingly redolent of Inside Number 9, Steve Pemberton and Reece Sheersmith’s epic series of darkly comedic tales. This helps pull the audience into the show as the actors drive to a denouement that threatens to bring Larry’s edifice crashing to earth, forcing him and Sid to make a choice that will determine the future course of their respective careers. It’s a neat conclusion to what is a stand out piece of theatre. I, for one, can’t wait to see what these supremely talented individuals come up with next. Highly recommended viewing.
-Tim Wilcock