Comedy Festival first week, by Lynn Freeman.

It’s a ferociously tough call, having 5-6 minutes to win over an audience and wow them with your brilliance, amidst a dozen or so other comedians from near and far.
I still hadn’t expected First Laughs, the opening gig of the Comedy Festival programme, to be such a mixed bag. Some of the locals struggled so much that it was painful to watch.
Even if they weren’t on the same tickets as some highly polished international acts, they were still way off the mark.
The local stars were MC Ben Hurley, whose years on the British circuit have done him proud, and Wilson Dixon, who’s also had a lot of time overseas .
All of the internationals made the most of their few minutes behind the mic, though Maeve Higgins sometimes needs subtitles with her waiflike delivery.
It’s a long night, so good value for money but a bit hard on the behind on those Opera House seats.
The next night Julian Clary took to the stage. He made a gentle jibe about it having seen better days and to some extent that can be said for him.
His material started out well, with a laugh a line, and that cheeky pout and naughty glittered eyelashes were adorable.
Much of the material was brilliant, but also predictable and too Carry On (though to be fair, I can’t see Sid and the team talking overtly about sexual practices) to sustain the whole evening.
Julian has just hit 50 and in the gay world that can be like dog years. So it’s sweet to hear that he’s found love, even if it’s with an Australian.  
In the San Francisco Bath House there were mixed fortunes for the first two there. Miles Jupp, who impressed in First Laughs with his posh accent, is on the soporific side when behind the mic for well over an hour.
There’s no problem with his material, but his delivery is laid back and his storylines don’t pack a big punch to lift his audience behind quiet albeit appreciative giggles.
He also had a small house the night I was there, in contrast to the following act, ex-expat Wilson Dixon.
The venue was full and the laughter more sustained, even though he also, in this character based music/comedy how, errs towards the low-key. It’s the songs more than the patter that rope you in.
Jimeoin is a total pro, he has a style and enduring appeal, he’s happy to offend everyone so no one can take offence (his wife must be extremely understanding is all I can say)!
He is as much actor as stand up, with pinpoint accuracy in the expressions he chooses, from a partner’s warning glances to a group of South Auckland Maori chatting in a pub. He had the full Opera House crowd on side the whole way through and clearly still enjoys his own material - which is not always the impression you get from some of the stand-ups who’re here at the end of long tours.
Wellington is well served by its experienced companies of improvisers. Shakespeare the Musical is somewhat misleading as a title, having little to do with the Bard. But the team, and this is true ensemble work, proved their genius for thinking on their feet to create great songs, a story line that keeps the action going, and horrible puns.
The audience was keen to participate even though they weren’t asked for input that often. In Holmes Alone, also at Circa, Greg Ellis split off from the band of improvisers he usually works with to go solo.
Given that, as with Shakespeare the Musical, we tend to think of improvisation as a collaborative effort, Ellis did a superb job. He only had himself and his remarkable wits to rely on, along with an enthusiastic audience that was very willing to give him weird and wonderful suggestions.
Both great shows and - refreshingly, given a lot of the content in many of the stand-up shows in particular - genuine family entertainment.