Samuel Barnett in 'Feeling Afraid As If Something Terrible Is Going To Happen' at Bush Theatre. Photo: The Other Richard

Feeling Afraid As If Something Terrible Is Going to Happen at the Bush Theatre is the sad clown paradox.

The Comedian (Samuel Barnett) tries (and succeeds) to make people laugh while simultaneously suffering from anxiety and low self-esteem to the point of sabotaging anything good that happens.

He narrates and comments on his own story but isn't necessarily a reliable narrator. He bursts onto the stage and grabs a mic as if at a gig, and proceeds to deliver and re-deliver lines to see if they land better. It's as if he is testing new material.

How much truth is there in the story he proceeds to tell, or is it embellished or made-up material for his comedy set?

A serial user of apps to find casual sex, he is drawn to an American PhD student with "arms like a Disney prince" who likes to take things slow. Several dates slow.

The Comedian not only tells us about the exchanges between the two but relays his inner monologue. He is sharp, witty and revealing, with a keen eye for human behaviour and scathing judgement. He is also self-indulgent and makes bad decisions despite his better instincts.

Marion Bailey and Alun Armstrong as Flo & Jack Kirk in To Have and To Hold, Hampstead Theatre. Photo: Marc Brenner

Is Richard Bean's new comedy To Have and To Hold at the Hampstead Theatre as funny as One Man, Two Guv'nors? Comparison, when you've had such a big hit, is inevitable.

This has a very different setting; it's loosely based on his own family and centres on nonagenarians Jack (Alun Armstrong) and Flo (Marion Bailey).

They are getting to the point where living independently in their Humberside village of Wetwang is more tricky. Retired policeman Jack isn't very mobile and no longer drives, and Flo's eyesight and memory aren't great.

The couple rely on 'Rhubarb Eddie' (Adrian Hood) and Pamela (Rachel Dale) for shopping and help around the house and garden. Jack and Flo have been married for 70 years, and while parts of them might not work as well as they used to, they are still sharp enough mentally to bicker and argue constantly.

Grown-up children Rob (Christopher Fulford) and Tina (Hermione Gulliford) have taken time out from their busy lives and jobs to visit and try and sort out their situation.

No One, Omnibus Theatre, Jan 2023

No One at the Omnibus Theatre bursts onto the stage with a scene in a club, complete with a live DJ, which quickly descends into a fight. Then we jump to a police station and investigation into a missing girl and the violent attack of a man.

It sounds dark, but how it is performed brings a humourous touch.

The policeman, with a strong West Country accent, listening to a drug-fuelled, seemingly odd and improbable explanation of what happened has hints of Edgar Wright's Hot Fuzz.

The mystery behind the attack, the missing girl and the odd occurrences then steadily unfolds. It is logical and simultaneously illogical, which is part of the fun.

Based thematically on HG Wells's The Invisible Man, the piece has been devised by Akimbo Theatre who trained in physical theatre at Jacque Lecoq, Paris. And they put that training to good use.

Sam McArdle in the Manny, King's Head Theatre, Jan 2023. Photo: Gabriel Bush

Sam McArdle plays 'the manny', a male nanny working for rich, single women in West London. He is a charmer, charming his employers, his charges and the women on dating apps he wants to sleep with. But 'living the life' isn't all it's cracked up to be.

In a solo performance, McArdle weaves the narrative, switching between scenes in his working life and social life. 

He lands a mostly cushy job except for difficult-to-charm 7-year-old Michael. McArdle has a witty take on child care and amusing observations of the children of the rich, presumably gleaned from his time working as a male nanny.

His fictional Manny uses his own brand of charm to win over parents and other mums at the school gates.

Outside of work, casual sex takes a back seat when, bored and lonely one day, he ends up at a community improv class and falls for teacher Molly, an out-of-work actress.

Molly is in a relationship and doesn't fall for his charms, but he is smitten. He starts to feel deeper human connections and a sense of community, there is encouragement and support in the group, both of which have been absent from his own circle of friends.

But not everything works out the way he wants.

There is a scene in Eureka Day at the Old Vic during which the audience is roaring with laughter, but it isn't anything to do with the actors who are on stage or what they are saying.

And it isn't a mistake, it is intended, and it's a genius scene for a couple of reasons, how the actors carry on regardless and the relatable source of the comedy.

Kirsten Foster, Mark McKinney, Helen Hunt, Ben Schnetzer and Susan Kelechi Watson in Eureka Day at The Old Vic, Sep 2022. Photo by Manuel Harlan

Eureka Day is the name of a private school in Berkeley, California, which is welcome to all children. That is until there is a health crisis which tests the ideas and values of five members of the PTA.

At first, the play is a satirical stab at the 'woke' left as they debate the appropriate racial groups to reference on the school's website. Everyone is seemingly doing their best to listen, suggest, understand and reach a consensus without causing offence. And it raises a good few laughs.

Of course, the irony is that they are so busy demonstrating what the school stands for and its inclusivity they don't realise the voices they are trying to include are getting stifled.

However, when a child at the school comes down with mumps, the play shifts gear into the debate around vaccines.

Where it gets very funny is at an emergency meeting about what to do, conducted via live video call with the rest of the parents. The PTA are huddled around one laptop, remaining polite and respectful to each other's views.

Then on the back wall of the classroom set, the comments from the video chat start popping up.

At first, it is a mixture of gossip, random remarks and polite comments about vaccines, but it soon descends into chaos, a mixture of wacky ideas, passive-aggressive comments and plain insults about each other's views.

Hopefully this year we'll see theatres reopening and a semblance of normality returning so with that in mind the first Sunday Theatre question of 2021 is about what your dream play would be and who would star in it.

So pick a genre - or a play if you have one in mind - the actor and/or actress you'd most like to star in it and then share it in the comments.

My choice would be a black comedy starring Ben Whishaw and Monica Dolan for reasons I explain in the video.

Looking forward to reading about your choices and scroll down for my favourite black comedies...

I love a serious play, something thought-provoking and challenging but right now, with everything that is going on, I just want a laugh. I want frothy fun that is diverting. Did behind-the-scenes farce The Comeback at the Noel Coward Theatre fit the bill?

Ben Ashenden & Alex Owen in The Comeback. Photo Marc Brenner

Written by and starring Ben Ashenden and Alex Owen, The Comeback is a bit like Michael Frayn's Noises Off but instead of seeing the on and off stage shenanigans during a play, it is set on a comedy tour.

The 'stars' of the tour are an ageing comedy duo (Morecombe and Wise-esq) trying to stage a comeback. Ben and Alex are the warm-up act and hoping the tour will catapult them into the big time.

When they spot the name of a Hollywood director on the list of ticket holders the need to impress suddenly becomes even more important.

Ashenden and Owen's humour is gentle, fun and cleverly disarming. You wonder where they are going with a skit or a gag but where it lands is often a surprise - and all the funnier for it.

When theatres had to close in March, I thought it might be a month or two before I was back watching live performance again.

As the weeks passed, it became obvious that it was going to be much, much longer and I stopped thinking about when I might return.

Did I imagine, that at the beginning of August I'd be sitting on a wooden bench wearing a mask with 30, socially distanced, others waiting for a live performance to being?

No.

The live performance was a series of stand-up comedian's headlined by Ed Gamble and wooden bench was in a courtyard at Battersea Arts Centre. 

With indoor theatres still closed, it is a genius use of outdoor space which also has a balcony level where some more people could stand.

So what was the experience like?

Humour is personal, what one person finds hilarious might fall flat for someone else. And it is really difficult to get right, comic timing is a great skill.

Now I love dark comedy, the uncomfortable laugh that makes you think but I'm also partial to the silliness of a good farce.

Here are my favourite comedies from the past 10 years of writing this blog and I would love to know what your favourites are - tell me in the comments.

Upstart Crow, Gielgud Theatre

A clever and funny play that twists and weaves Shakespeare's plots - often exposing their ridiculousness and prejudices - with modern references.

Teenage Dick, Donmar Theatre

Based loosely on Shakespeare's Richard III the setting is an American high school and the machiavellian protagonist is a hemiplegic student Richard who is fed up of being bullied and teased about his disability.

It was a great combination of fun and dark comedy - and had a brilliant dance sequence.

Emilia, Vaudeville

A potent mix of humour, fun and feminism. It had a powerful message delivered in a deliciously entertaining and clever way.

Present Laughter, Old Vic

Director Matthew Warchus put a fresh spin on the well-trodden Noel Coward play which, coupled with Andrew Scott's performance, made this a sublime comedy.

I reviewed it alongside Noises Off at the Lyric Hammersmith, in a compare and contrast of the two comedies which you can read here.

It doesn't matter if you've never seen Ben Elton's TV comedy series, Upstart Crow, (I hadn't) as the stage play is a stand-alone piece.

David Mitchell and  Gemma Whelan in Upstart Crow the play. Photo: Johan Persson

Having some familiarity with Shakespeare's plays helps although I confess I couldn't tell you the plot of Measure for Measure or Alls Well That Ends Well.

Upstart Crow (the play) centres on Shakespeare's search for inspiration for his next hit but along the way has a rich vein of commentary on gender inequality, immigration, religion and the acting profession.

There are also a lot of cod-piece jokes and a brilliant dancing bear.

Elton cleverly weaves strands of Shakespeare's actual plays into the plot while simultaneously ridiculing them.  King Lear, Othello and Twelfth Night are mixed with nods to Hamlet, Romeo & Juliet, A Comedy of Errors, The Tempest and more all of which have the more outlandish and suspect aspects of their stories exposed.