Skinnyfest 3 - Carey Marx
Braving a spontaneous show, he reveals quick wit and confidence: he builds an easy rapport, supported by the crowd's enthusiasm. <br/>
| 14 Aug 2006
Hampered by technical mishaps, Carey Marx cannot present his usual show, but he relies on a classic strategy: getting drunk and improvising. He serenades the audience, uses props and recycles gags, all the while commenting on his Edinburgh experiences and his own comedy processes.
His material is self-consciously shocking, attacking everyone from albinos to the disabled, carrying off outrageous jokes with wry charm. He discusses the challenges of being offensive- the biggest laughs in Scotland, he notes, clear a room in Canada- while his self-effacing warmth redeems his obnoxious observations. Braving a spontaneous show, he reveals quick wit and confidence: he builds an easy rapport, supported by the crowd's enthusiasm.
He is a masterful stylist, gracefully switching from surrealism to sardonic irony. His relaxed delivery avoids gratuitous nastiness, although his improvisations lurch between subjects and the set is fragmented. Rambling rants about 'political correctness' and the power of swearing are predictably dated, and the broken projector forces him to rely on old material: yet he holds attention for a genial hour. Marx's presence and imagination suggest that his full show could be outstanding.
His material is self-consciously shocking, attacking everyone from albinos to the disabled, carrying off outrageous jokes with wry charm. He discusses the challenges of being offensive- the biggest laughs in Scotland, he notes, clear a room in Canada- while his self-effacing warmth redeems his obnoxious observations. Braving a spontaneous show, he reveals quick wit and confidence: he builds an easy rapport, supported by the crowd's enthusiasm.
He is a masterful stylist, gracefully switching from surrealism to sardonic irony. His relaxed delivery avoids gratuitous nastiness, although his improvisations lurch between subjects and the set is fragmented. Rambling rants about 'political correctness' and the power of swearing are predictably dated, and the broken projector forces him to rely on old material: yet he holds attention for a genial hour. Marx's presence and imagination suggest that his full show could be outstanding.