The Spinoff heads to the comedy festival. Guy Williams is one of New Zealand’s most high-profile political comedians. The problem is that political material doesn’t always mesh well with his standup persona of brash, unhinged idiot. Who wants to hear that guy’s political views? This year’s show might have solved the problem. Titled Rich People Are Stealing From You And Blaming Brown People And Trans People And Some People Believe Them Aaahhhhhh!, it’s ruder and more low-brow than ever, but might be his best piece
of social commentary to date. If you could summarise a thesis statement, it’s that he thinks the right has cornered edgy comedy for too long and “the left needs more fucked cunts”. Williams opened by informing the audience that he was about to say some “fucked shit” but reassured them that underneath it all he was a “good person”. He yelled “we love our trans brothers and sisters” and then ranted about why we should bring back the word “retard”, called Christopher Luxon a “human
buttplug of a man” and suggested that David Seymour should do things to himself that may be illegal to print. It was an hour of well-crafted dark humour with moments that would shock even the most jaded audiences. It was a direct, in-your-face pushback against political correctness from an explicitly socially liberal perspective. He’s a confident performer, comfortable with crowd work and improvisation, with a self-awareness of his public identity as a comedian and local celebrity. He knows he has a unique ability to reach
across the cultural divide and appeal to both the educated urban elite and what he described as the “leg tattoo” demographic – disenfranchised young men, NRL and UFC fans, bogans, the kind of chud who goes on New Zealand Today to boast about stealing a monkey from the zoo. He posited a theory for his crossover appeal: he came from a privileged family, but grew up in a regional city (Nelson) and spent much of his time watching or playing sports. He spent almost as
much time talking about rugby boots as he did making pedophile jokes. As liberal parties around the world navel-gaze about their inability to reach young men, Williams is part of an international movement of left-wing comedians who have figured it out: be ruder than them, funnier than them, and unabashedly confident in yourself. As if to emphasise this, Williams ended the set by dominating an audience member in a game of one-on-one basketball on stage. He immediately stripped the ball from them, hit a spin
move, drilled a fadeaway from the elbow, held his arms up in triumph and roared “I’m good”. /Joel MacManus Joe Daymond’s Comedy Mixtape It’s not easy trying to entertain a crowd of Wellingtonians at 6pm on a school night. Just ask local legend Joe Daymond, who brought punters in from the cold to the capital’s Hannah Playhouse on Tuesday for a 90-minute showcase, Comedy Mixtape. It might have been a struggle to get the audience warmed up at first, but Daymond’s cool crowd work, the
line up of seven comedians and a few dirty jokes brought the house down by the end. The vibe was supposed to be that of a garage party, Daymond said, before adding, “I’ve never been to a garage party with so many Pākehā”. His lineup included Indian comic Jenice Goveas, who had a good bit in finding her inner white woman now that she’s an almost-resident. Tama Alexander had a joke about dressing up as Barack Obama – his leftie friends loved the impression, but
hated the black face. It was the type of joke you feel like you don’t want to find funny, but it just was funny. The standout performance undoubtedly came from US comedian Martin Urbano, whose horny jokes about eating arse earned the biggest laugh of the night. Because we live in the age of the internet, Urbano topped his routine off with a social media friendly skit: he fit as many jokes as possible into 60 seconds. It almost feels wrong to go to a
local comedy show in Wellington and say the best act was the American, but, hey, I’m simply reporting the truth. It also made my boyfriend and I wonder, did we find Urbano the funniest because we’ve been conditioned by the internet to believe American accents and jokes are just inherently funny? Much to think about. But the best bit in the mixtape didn’t come from Daymond and his mates. It came from an audience member, who described her first date, 22 years earlier, with the
partner who accompanied her to the show. She was on the JVille train, he was on the Hutt Valley line, and their paths converged at Te Aro Park, otherwise known as Pigeon Park. Cue an anecdote about her mate hooking up with a cousin in a public bathroom. It was a classic Wellington love story. Funnily enough, Daymond pointed out, if we were actually at a garage party, this really was the type of shit you’d be hearing. I would have paid good money just
to see a show centred on Daymond and the Pigeon Park lady. Daymond’s mentor and Wellington comedy legend Raybon Kan closed out the show. His brand of comedy skewed to the older generations, with jokes that asked: do you remember the days before TV shows used to do a “previously on?” The days when you just had to remember what you experienced a week prior without technology doing all the remembering for you? Even if this didn’t land with the Gen Zs in the crowd,
I got plenty out of listening to the gentleman behind me giving a good guffaw and saying, “it’s so true.”/ Lyric Waiwiri-Smith Wellington’s Cavern Club is a bit of a dank hole-in-the-wall, but it’s a cosy place to catch some comedy. It’s probably a smaller venue than what the Auckland-born but now Melbourne-based Henry Yan is used to these days, but the intimacy of it all only heightens his comedic character’s clumsy social skills. During a set focused on the highs and lows of life
as a perpetually single 30-year-old, you really start to feel like you’re on one of those bad first dates you’ll never stop telling your friends about. I say this all in the most complimentary way possible. I loved Yan’s show, not just for the affordable pints and free Best Mayo sachets (courtesy of the comedy festival’s sponsor), but for the fact that I smiled and laughed so hard that my face almost hurt. The strength of Yan’s comedy is in his awkwardness, the way he
says “haha, crazy…” after every other line (got me every time), the way he takes a joke bombing and turns it into another opportunity to make another joke, appealing to the audience’s pity. Yan’s audience work was also impactful; he seemed to make a genuine connection with a fellow spreadsheet-obsessive in the crowd. Unfortunately, he wasn’t so lucky with the one single woman at the show. But there’s more comedic value in quiet rejection than the alternative. Yan’s show wraps with the story of the
first (and only) time he told a woman “I love you”. In classic Millennial fashion, he does it over text and it ends in him being blocked. It’s depressing and darkly tongue-in-cheek, but a dating experience all digital natives are familiar with. Yan dips in and out of this central theme of the show throughout, but manages to come back and tie it up with a nice bow. I wouldn’t be surprised if we saw a lot more of this Billy T Award nominee appear
on our screens soon. Put him on Taskmaster, immediately. / Lyric Waiwiri-Smith Sounds Funny with Suzy Cato and friends Suzy Cato walked out on stage wearing denim overalls and giant, dangly heart earrings, sang “It’s our time, kia ora, talofa” and the shitstorm that is the world right now immediately began to recede. This was a comedy show for kids, but it was also a show for adults who are, frankly, sick of being adults. What an antidote to laugh at bum jokes, to hear
“knock, knock” from the stage and watch as a theatre of excited children yelled back “who’s there?” But wait, there was more. What a revelation to discover performers so talented that you, the parent, do not have to put on laughter for your children’s sake, but instead need to cross your legs so you don’t risk accidentally weeing a bit. Cato (who does not age) brought along Florence Hartigan as Captain Crossbone and joke-book writer Tom E. Moffatt, but it was comedian and musician Sam
Smith and puppeteer Jon Coddington who really brought the house down. Smith, who was the lead writer for 7 Days and comes up with tasks for Taskmaster NZ, should consider releasing the song ‘Your Body Can Make Any Colour But Blue’. Seriously, New Zealand has a real dearth of songs about secretions and ooze. If he wants to do a vinyl version, it would make sense to chuck ‘Jerry the Dinosaur’ (“eating all the humans was his only flaw”) on the B-side. As for Coddington,
who knew we needed to see a puppet do one-handed press-ups and imitate a duck? Let me tell you: we fucking did. The show ended with an open mic. Absolute respect to the 4-year-old who confidently took the stage, grabbed the mic, and went “I’ve forgotten my joke”. The only disappointment of the 90-minute show was that Auckland’s Q Theatre was only half full. Too many missed out on an afternoon of wholesome, life-affirming fun. Now, let’s all give a giant pakpaki to Suzy and
friends. / Veronica Schmidt Stephen K Amos Stephen K Amos brought the visitor-to-New Zealand jokes. He had the accent down: “New Ziland”. He’d done his due diligence: “Don’t ever fly into Wellington, for fuck’s sake.” And he was ready to gently rile us up: “Vegemite? That can fuck right off.” If you had followed the British comedian’s long and impressive career, though, that was about where the surprises ended. The show went back over well-traversed territory: the Covid pandemic, his parents, and that comedy is
subjective. Some of the lines he’d first trotted out more than a decade ago. If the crowd had been looking for fresh or edgy, they would have been out of luck, but the audience that showed up at 5pm on a Saturday seemed happy enough. They wanted the equivalent of meat and three veg and they got it. Amos threaded audience interaction expertly through the show – that poor bastard in the front row – built to the biggest laughs, and played to the middle-aged
audience, with lines about the bygone hardship of manually winding car windows up, the proliferation of thoughtless opinion in the social media age, and the harshness of parents back in the day. In other words, an oldie but a goodie. /Veronica Schmidt The Christchurch Comedy Gala At the start of the month, Christchurch showed up in force at the town hall for the first comedy gala to make it down south since 2017. Hosted by an astoundingly spry Dai Henwood, who revealed he had just
undergone a round of chemo the week prior, the evening was a smorgasbord of over a dozen acts and just as many delectable compliments for the Garden City. “I can feel the smugness coming off you,” Henwood told the crowd. Along with Christchurch’s glow-up, there were a few other topics that were trending over the course of the night. More than one comedian had Gandalf’s infamous utterance “you shall not pass” as a punchline – is Middle Earth back, or did it never leave? Other
popular subjects included bisexuality, autism and David Seymour. A couple of the men talked a bit about World War 3, and just as many women talked a bit about their sagging boobs. Last year’s Billy T winner Hoani Hotene was a local highlight, his laid back cadence a welcome gear shift to the general freneticism of the evening as he talked about his time in kura kaupapa among kids from all walks of life (including very talented bulldog sketch artists). Angella Dravid also brought the
house down early on with her wide-eyed, deadpan delivery of some of the most shocking and surprising combination of words you’ve ever heard in your life. As for the international acts, Venezuelan comedian Ivan Aristeguieta brought a plethora of clever observations about how twisted the English language actually is. Australia’s Felicity Ward leaned on the speaker like a good friend at the pub while opening up about dating after divorce. Also from across the ditch was Elouise Eftos, whose sublimely confident set tackled everything from
street harassment to sexy Italians (and roasted a local plumber for good measure). There were some moments that didn’t quite land. The crowd energy was waning by the time Christchurch’s Court Jesters took the stage to improvise a song as the final act of the night, and I wonder if they would have got bigger laughs earlier on in the setlist. I also have to shout out the punters in the front row who kept popping out of their seats to fetch more pottles of
free mayonnaise. It’s been nine years since Christchurch had the chance, and here’s hoping we get it again. / Alex Casey
Guy Williams, New Zealand International Comedy Festival, political comedy, Rich People Are Stealing From You And Blaming Brown People And Trans People And Some People Believe Them Aaahhhhhh!, Christopher Luxon, David Seymour