An intriguing debut from a well-known and loved Brighton alternative comedian.
It’s a Tuesday evening at 9pm, and we’re here to see Alec Crane commune with, nay control, the dead.
It’s important to distinguish, this is definitely NOT the Brighton comedian, Alec Crane, but the disgraced doppelganger and TV medium who happens to share his name. Obviously.
The environment is suitably spooky. Faux candles encircle a table on stage, the lighting is dipped, and each person is scanned for spirits as they enter the room. But does this dial-a-deviant deliver the goods?
Crane’s attempts to ‘control the dead’ are comedic and exactly as you’d hope for from a show like this. Dismal, disorderly and rage-inducing for our anti-hero. He’s keen to reassure us of his street cred by continually mentioning his TV appearances, and discrediting those who disgraced him. The celebrity name-dropping is a hoot but runs out of wind slightly as time goes on. Would impressions (even deliberately terrible ones) be a fun addition to this?
There’s the foundations of a fantastic show here, but it is in need of escalation and further development to be heaven-sent for the audience. There’s one word which comes to mind which will hopefully give encouragement to this promising performer – more. There were particular moments that brought laughs time-and-time again, which he could capitalise on and repeat even more than he already does.
The audience love to see Crane getting things wrong. This character has such arrogance that it’s a delight to see him taken down a peg or two. The anger he displays when things seemingly go wrong of their own accord, or the audience don’t behave as he wishes, is also particularly enjoyable to watch. A note for Crane – if it’s bad for him, make it worse. Ramp it up in a steady trajectory – from mild annoyances to unbearable tension – so he cracks under the pressure. The bones of this are already there, but it could be hammed up and made so much more devilish. It would also create a stronger narrative arch, helping the audience hop on-board for the rollercoaster journey of his downfall.
Crane is absolutely up-to-the-challenge. He is clearly a very accomplished actor. Despite some moments of monologuing that go on a bit too long, the audience are engaged. He has the stage presence to command a crowd, if not the dead. There’s a sense that even if he was giving an hour-long presentation on something as banal as socks, or even shampoo, the audience would be intrigued. That’s a skill you can’t learn. Despite banning improv from the room, Crane does a good job at involving those watching, who are friendly and supportive of his fraudulent plight. Their interjections and sass cause additional stress for Crane, which obviously brings great enjoyment to the crowd. His assistant/tech Jordan also does a masterful job of the incompetent technician trope, which is all-the-rage on the comedy scene. It’s included in so many performances for the precise reason that it’s very funny.
The show starts late and rambles a little over time, but this doesn’t seem to cause issue for this particular audience. There’s only momentary lulls in interest. The story builds somewhat unsteadily to a final conclusion, the impact of which is slightly dulled by additional action after what feels like the obvious end to the story. The audience would benefit from further teasers about what is to come peppered through the duration of the performance. We come back to that comment about the narrative arch. A small but significant thing in a show that has promise.
Crane has made smart choices in the marketing, time slot and location. The concept of this show has mass appeal, there’s an obvious slot for the late night crowd at Edinburgh Fringe. In Brighton, the room is packed, the queue to enter snaking down the corridor in a way that this reviewer hasn’t seen at other shows at this venue.
What’s the price for dabbling with darkness? Well, you’d have to watch the show to find out. As the concept and character evolve, it will certainly be one-to-watch.
Reviewed on 20 May 2025.
