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Home Edinburgh Fringe 2022

Edinburgh Review: One Bite Only at Laughing Horse

by Matthew Hayhow
August 12, 2022
Reading Time: 2 mins read
One Bite Only credit Jimi Longmuir

One Bite Only credit Jimi Longmuir

Four Star Review from Theatre WeeklyOne Bite Only is not your average comedy double bill. The show consists of alternative comics Sara Palomarr and Angela Legg, collectively known as the Daft Duo. Together and separately, they perform as two outlandish comedy characters who delight and discombobulate in equal measure.

First up is Sara as Erika, who describes herself as being obsessed with sex despite being a virgin. She gives a very funny account of her exploits trying to navigate the politics dating apps, and the pitfalls of dating.

This sounds like fairly standard stand-up fare but what makes it unique is Erika’s off-kilter perspective on dating. After Erika, we have Angela performing as Miss A Legg, a self-described slut who loves donuts.

       

Her performance is even less, um, traditional than Sara’s; her character talks in rhyme, sings and rap dances. Through her unique brand of performance art, she talks about feminism and the desire not to be talked down to by men, about relationships, about her terrible job in a shopping centre, again, common topics for comedy, but what is so daft about the Daft Duo isn’t so much what they are about as it is how they are about them.

The show begins with them together on stage, with Angela jumping out of a box on stage. The ‘Dafties’ are talked to by a disembodied narrator, and the whole thing plays out like a Teletubbies-inspired fever dream.

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The show is presented as a double-bill, but the very few parts where they are both onstage together are so wonderfully weird and I wish the ‘Daft Duo’ did more, well, as a duo. They are both different physically and personality-wise, with a kind of Bizarro Laurel and Hardy quality about them. Nevertheless, their solo performances are still both a joy. You’d be daft to miss One Bite Only!

Matthew Hayhow

Matthew Hayhow

Matthew Hayhow is a freelance writer who has written and edited for Vulture Hound, The Idle Man and Orchard Times. He writes about theatre, literature, film, music and video games. Matthew has an MA in Linguistics and English Language fro the University of Glasgow. He is based in Glasgow.

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