Underbelly Bristo Square
August 1-26 (17.15)
Ian Smith is man on the rise. Last year, at the fourth time of asking, he won the ‘People’s Champion’ Amused Moose Comedy Award, & its dead easy to see why. He’s a good ol’ laid back northern lad, y’see, which makes him naturally salt-of-the-earthy, & he’s a proper funny un’, n’all! Goole’s own comedy gyrfalcon welcomes us all into his nest of familial friendliness. He’s the kinda guy you want to get blasted with & play Risk; he’s like an ubernerd, but the one who gets all the fit chicks & the best drugs. Three weeks into the Fringe, & five minutes into watching this refreshingly funny comedian, I felt like I was back at the beginning of August, highly excited that all these talented people had come to my city to perform, & up for a reyt laugh.
Spending an hour with Smith allows us to penetrate our world via the distorted mirror of his imagination as he powerpoints & gabbles his way thro’ Craft. Like an industrious waterfall he rarely pauses for air, while his material is of the obscurer, kitschy type – the War of the Worlds brass band segment for example – & the stuff he gets up to near to, & at the, end is off the scale.
About half-way through Craft we reach the raison d’etre of his 2018 show – the ancient Japanese art of origami, which Smith very shrewdly tell us, via wikipedia, ‘followed on from the invention of paper.’ This is a really welcome & integral part of the adventure – it never feels contrived – as are the hilarious subliminal messages which Smith slips in from time to time.
Sticking with the Japanese theme, Smith even found comedy in haiku, which reminded me of one of Basho’s classics, ‘Furu ike yakawa / zu tobikomumizu no oto,’ which translates something like, ‘Old pond — frog jumps in — sound of water.‘ Thus, in this instance, Ian Smith is the frog who has – like a comedy cannonball blasted out from the origami boom – leapt into the antique pond that is the world of Fringe comedy, where he is definitely making a noisy splash.