For the many Americans in the audience, the lovely Michelle Collins (not that one) is a hoot. But for the few British people in Soho Theatre’s basement, many of the US references go over their heads and the jokes about Tesco, Pret and London buses will only be funny to tourists, bemused by the capital’s lack of customer service and non-existent air-conditioning.
Although hailing from America herself, Collins now lives in the Netherlands and the jokes about her new home are the best in her 75-minute scattergun routine. Mocking the Dutch for their lack of dress sense – just turning up in a frock makes the people of her adopted country wonder if she is going to the Oscars – and their belligerency in queues at T.K. Maxx, Collins’s set begins promisingly. Her observational comedy is exuberant.
However, after 20 minutes or so, many of the jokes fail to land. She’s aware of this – or at least appears to be – saying that she will omit the poorly-received gag from the next show, but these asides are a lot funnier than the lines that don’t work. When she moves on to what she misses about the USA (more shops), the routine is designed for the ex-pats who line the front row.
Despite keeping on track with the use of a PowerPoint presentation, Collins’s subjects are all over the place, so different from other comedians who structure their shows into an extended narrative. After describing a TV show that none of the punters has ever seen, Collins moves on to screening phone videos of her mother trying to avoid being filmed. Surely even close family members would be hard-pressed to find it as hysterical as Collins does?
Adding to the randomness, Collins also sings a couple of show tunes, albeit with new lyrics. The first number about dating apps is a great deal more successful than the last, a very unfunny song about Day One of a missed period. A segment about overweight pets goes on for far too long and merely seems like filler.
Fortunately, the sheer force of her enthusiasm and the way she laughs at her own jokes ensure that you can’t help willing her on. She’s also very quick with the few times she engages with people in the audience; her ab libs are sharp and there’s a sense that her skills lie in the American comedy genre of roast rather than the absurdities of everyday life. For the Brits here, too much is lost in transatlantic translation.
Runs until 29 June 2024
