Urooj Ashfaq review: A compelling personality that keeps everyone hooked
Urooj Ashfaq tells a man in the front row that his mum is in hell with a giant smile on her face. It’s maybe not the kind of crowdwork you’d expect from a comedian who seems as personable as she, but somehow it only adds to her charm.
And charm she has in spades. Urooj is one of the Soho Theatre India’s contingent for this year’s Fringe, and spends most of the show speaking about her parents’ divorce and her decision to go to therapy — something she says makes her an edgy comedian in her hometown of Mumbai, but obviously less so here.
The lack of edge in her comedy isn’t a problem though; she is extremely enjoyable company for the next hour. It’s almost a surprise now if a comedian doesn’t mention being in therapy (everyone, go to therapy!), but Urooj has a unique angle, and one that she executes with precision. As the only one in her friend group who can afford it, she describes being the designated driver for all of her friends’ problems, ferrying them back and forth and creating a reputation with her therapist she’s not pleased with.
The cherry on top of this show are the seventh grade diary excerpts and one-liners she pulls out of her pocket at the end — it’s an extra sprinkle of fun on a show that didn’t even really need it but it gives her the opportunity to pretend to be a lizard on the back wall of the venue.
The material itself is strong, but it’s Urooj’s compelling personality that keeps everyone hooked.
Urooj Ashfaq: Oh No! is at Assembly George Square (Crate) at 8:50pm, until August 27th. Tickets here.
“She’s dynamic and natural on stage, a simultaneously high-powered and relaxed stand-up.”
Getting to see Cooking With Kathryn is the perfect example of a welcome Fringe surprise – someone new to me and the Fringe, who has created something that fully reflects its anarchic, messy spirit. An absolute riot.
Gross in some places, soft in others, raucously fun all the way through. It’s a clown show that fully celebrates the joy of playing around. At every opportunity, Su takes the wilder option and runs with it.
Like the skirt suit she’s in search of, Baby Doomer is woven from honeyed threads. She wears both wonderfully. Can you plausibly call someone one of the greats this early in their career?
Marjolein’s perspective is a gift and Lein is another hypnotic, lyrical piece of work, and as funny as ever. Even if we haven’t all watched nuns trampolining in Amsterdam, being lost is a universal feeling.
I love all of it. Ayoade Bamgboye has the freshness of a new comedian performing without rules or restrictions. You truly have no idea what she might do next, and she makes it appear like she doesn’t either. It’s thrilling.
There are few people more naturally suited to the job at hand. Molly McGuinness’s debut Slob flows out of her with seemingly effortless dexterity.
I’ve been hearing rumblings of Ayo’s talent for a while and it’s immediately obvious why, both to me and this sold out crowd. His ease on stage, his delightful, sunny disposition and winning earnestness all combine to endear you to him straight away.
I could have watched endless iterations of couples (and throuples) galavant in different costumes around the attic – I lost all sense of time and never wanted to leave.
Her debut show is ticking all my boxes. Musical theatre. Check. Anxiety. Check. Feeling so much gratitude for your lovely therapist that you want to send them a gift but don’t know if it’s appropriate (it’s probably not). Check!
Sharon’s wellness tips are much more usable e.g. drink so much water to stave off your anxiety that you nearly piss yourself, scientology, bring back fortune tellers…
Rosa is quickly covered in slime – there’s one delightful moment after it has been poured where it looks like a lovely latex beret balancing over their fringe, then oozes down and hangs in a big globule off of one eyebrow.
This debut is going to bring in a good helping of the validation he craves. Pedro’s comedy is smooth, structured and sophisticated. He was made for the West End, but only the West’s most high-brow End
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Main Character Energy is an elaborately camp and flamboyant parody of the one woman play and all its tropes, but it also serves as a genuine slate for her many talents
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Every moment is clearly so carefully considered from start to finish, expertly structured and solidifying him as one of the funniest comedy writers and actors around.
The combination of Zoe’s confident storytelling ability and precise, razor-edged jokes make this the kind of rom-com you’d be running to rent from Blockbuster on a Friday night
Lil Wenker effortlessly achieves a level of audience commitment that is often hard to come by. And it’s a necessary thing; this show hinges on active participation.
There are so many elements to this extremely complex and thoughtful show but what comes across in the end is just how much heart there is.
Til Death Do Us Hearts is the wedding after-party for the audience, and Two Hearts treats us to an abundance of gut-busting ear worms
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