There isn’t a shortage of musical comics at the Fringe, but probably none so simultaneously weird and wonderful as Perrin Pang. Through stand-up, sketches and a little bit of prop comedy with two baby dolls, Here Lies gives us a glimpse into the surreal mind of this comedian.
Pang is a fan of wordplay, and much of the spoken word sections utilise puns, non-sequiturs and word-games, such as a Demetri Martin-esque bit about ‘one sentence stories’ (“No Don Cheadle, stop Cheading Don Your Wife!”). When exploring an idea, Pang’s flights of fancy can follow the logic of an MC Escher painting – he will often keep talking until the original point is completely unrecognisable, only for the original idea to connect at the end and pay off. Pang has cultivated an affected stand-up persona that switches from warm and friendly to cold and bitter, keeping the audience on their toes and unable to guess what is coming next.
Where Here Lies really shines are the musical segments. Pang plays piano onstage singing quirky songs about being in school wishing he was white, and the selfishness people displayed whilst in quarantine. There are also clever songs where Pang sings to a backing track, with other voices that represent his inner thoughts. A stand out track is a song about wrestling with the idea of whether or not as an Asian comedian he should be doing ‘Asian jokes’. Pang is clearly a very talented composer as well as performer, and the songs are not only funny but well-crafted, spanning genres such as piano ballad, electro-pop and orchestral.
Though not all of the vast selection of ideas sticks to the wall, and perhaps Pang uses awkward silence as a crutch for humour a little too much, Here Lies is a very unique take on musical stand-up. Perrin Pang is certainly a name to watch in the world of alternative comedy.
