Kathy Burke

Brian Pern: A Life in Rock was very funny indeed, and featured great cameos from, among others, Martin Freeman, Kathy Burke and Tim Rice. It's splenetic, hilarious and just wrong. Can there be yet another urgent need to send up the pomp of the prog-rock years when it has already been spoofed so sublimely by Spinal Tap, and The Comic Strip's Bad News Tour?

Simon Day is behind this, and very good he is too, and you should watch it if you haven't watched any other satire on 70s musical vainglory. But if you have, you'll simply be asking yourself: why?

Anybody who saw the faux documentary presented by Brian Pern (Simon Day) on BBC4 knows that the frontman of Genesis-esque prog rock band Thotch is a great comedy creation.

Director Rhys Thomas, who co-wrote the series along with Day, brilliantly portrays the life of an ageing rocker as he tries to keep himself relevant with a modern audience. The stories of Pern refusing to be in a room with his former bandmates (played brilliantly by Paul Whitehouse and Nigel Havers) were perfectly pitched. The creation of a Thotch jukebox musical was an equally enjoyable subplot especially when the show's director Kathy Burke decided to cut all of the overly long Thotch songs from the show.

I personally enjoyed the final few moments of the comedy as Pern was dragged into the police station in a manner that would suggest he was part of a Yewtree-type investigation. But the punchline itself was brilliantly delivered as was the reaction from Pern's manager John Farrow (Michael Kitchen).

Part of the charm of Brian Pern is the fact that everyone is willing to go that extra mile and, in the case of those playing themselves, send up certain elements of their characters. Martin Freeman is a prime example of this as he tries to capture Pern's mannerisms in order to correctly portray him in the musical.

Meanwhile, a cameoing Tim Rice perfectly sums up his feelings about the Jukebox musical and how they've taken away from his type of musical theatre.

Although some of the jokes don't hit the mark, Brian Pern: A Life in Rock is a perfectly constructed mockumentary that owes a massive debt to the work of Christopher Guest. The fact that the sitcom is only three parts means that it won't outstay it's welcome and at the same time will leave the audience craving for more from Day's egotistical prog rocker.

Radio Times review

The gloriously silly spoof documentary from Down the Line star Rhys Thomas may have grown up with a move from BBC Four to BBC Two - even if its lead character, played by Fast Show alumnus Simon Day, certainly has not. There's also a slight format change. Pern, former front man of fictional prog rock band Thotch, no longer narrates and this opener is more of a spoof arts doc fronted by Thomas and focusing on Stowe Boys, a West End rock musical about the band directed by Kathy Burke. What could go wrong? Well, everything of course.

Yes, it clearly owes a debt to Spinal Tap, Christopher Guest's 1984 masterpiece, but Thomas (who won a Rose d'Or for a Freddie Mercury documentary) has a scalpel-sharp eye for rock-star foibles. And there are joyous contributions once again from Michael Kitchen as Pern's fantastically arrogant and unpleasant manager John Farrow, Paul Whitehouse as the band's guitarist Pat Quid and Nigel Havers's priapic Tony Pebblé (pronounced "Peblay").

Brian Pern: a Life in Rock, BBC2 - TV review

Brian Pern: a Life in Rock (BBC Two) also had the feel of a reunion, or perhaps the office Christmas party for British comedy's hardest workers - Martin Freeman, Jack Whitehall, Kathy Burke, Paul Whitehouse and Phil Cornwell all popped up in various roles.

Over on Sky Arts 1, some light relief from Psychobitches, one of the best new comedies on TV last year, though given its tiny home, few people actually got to see it. It's a sketch show set in a therapist's office, in which famous (dead) women from history tell psychiatrist Rebecca Front their troubles. The first series was a knockout - Julia Davis played a wailing hybrid of Pam Ayres and Sylvia Plath; the Brontë sisters were foul-mouthed, filthy puppets obsessed with sex, and Sharon Horgan played a campy Eva Peron, who clung on to her bottles of "boobles". It was silly, and odd, and very funny.

This second series is almost as good, though it feels more like a traditional sketch show and is slightly patchier, perhaps due to the sheer number of writers (I counted 12 on the credits for the first episode of this double bill, and seven on the second). In the best sketch, Kathy Burke and Reece Shearsmith play the Queen Mother and Princess Margaret as crude and grotesque, glugging down booze as Burke repeatedly rejects her on-screen offspring with delicious cruelty. Morgana Robinson joins the cast to play a sloppy Anna Nicole Smith - hers is a masterclass in physical comedy - and there's a musical skit featuring Unity, Decca and Nancy Mitford, as imagined by Horgan, Samantha Spiro and Sophie Ellis Bexter. In a sketch the Mail has already called "hideous", Michelle Gomez has gone from Doctor Who's Missy to an even more terrifying villain, playing Thatcher as a Hannibal Lecter-style monster, incapable of love. It's at its finest when it's upsetting the establishment, and it relishes its naughtiness.

The second episode was less sharp. Perhaps, given its hyperactive pace, it works better in single doses. But I loved Horgan as Carmen Miranda - "Of course I'm on fucking drugs" - and Sheridan Smith as a mute Sleeping Beauty, whose endless sleep has an ulterior motive. And anything that gets Kathy Burke back on our screens, even for a few minutes, is well worth our attention.

Radio Times review

As the title suggests, this sketch-comedy doesn't purport to offer a balanced portrayal of the historical subjects it puts in the therapist's chair. Instead, it's a rare chance to see some of our finest comic actresses freed from the shackles of realism.

In the first of a double bill, we see Kathy Burke transformed into a louche, foul-mouthed Queen, Sharon Horgan crooning angst as country singer Tammy Wynette and a breathy Morgana Robinson as Anna Nicole Smith. Fresh from playing enigmatic Missy in Doctor Who, Michelle Gomez steals the show as a clipped, impeccably coiffed Margaret Thatcher. "Love?" she sneers, when Rebecca Front's long-suffering therapist tentatively broaches the subject - "it's a fictitious concept, like heaven or peace or God."

Comedians join Richard Ayoade on his trip

Kathy Burke, Adam Hills, Jessica Hynes and Stephen Mangan join Richard Ayoade on his TV show Travel Man.

In the therapy room of Rebecca Front's psychiatrist - where some of history's most iconic and eccentric women go to get their psyches soothed - will be the likes of Michelle Gomez, Kathy Burke and Samantha Spiro (back as a maddeningly annoying Audrey Hepburn); while new patients include Morgana Robinson playing Anna Nicole Smith, Meera Syal as the goddess Hera and Alexa Chung as The Girl With A Pearl Earring.

It's fair to say that Catherine Tate has had an interesting couple of years; from her role in the American version of The Office to acting on the stage, I feel she's come a long way since her sketch show. However this week saw her revive one of her most popular sketch show characters, Joannie Taylor, for a one-off special Nan.

At first I thought Nan would be simply an extended version of the sketch show, but the plot of the programme was fairly endearing. It saw Nan being paired with teenage volunteer Alice (Ami Metcalf) while her grandson (Mathew Horne) is off building a school in Africa. The main thrust of the episode concerns Nan's taps and her constant fights with the council to get it fixed. In her own unique style Nan's interactions with council representative Miss Donnelly (Nikki Wardley) land her in hot water and eventually see her serve two community service orders. Eventually though Nan is able to save the day by allowing her Indian neighbours to host a wedding in her flat.

Anybody who loved Nan's foul language and bad attitude wouldn't have been disappointed by what they saw here. However I was surprised that Tate fleshed out the character especially in constructing a relationship between Nan and Alice. I feel the episode really benefited from the appearance of Ami Metcalf, who so good as the young Kathy Burke in Walking and Talking. Metcalf and Tate made a fine double act and I particularly enjoyed Alice's confrontation with Miss Donnelly. The focus on the bureaucracy at the council was also a story that most people could identify with and they could understand Nan's frustration and the way she dealt with the problem was completely believable.

Ultimately I found Nan to be funny, endearing and a sitcom that was well-paced throughout. If all the episodes are of the same quality as this special then I wouldn't mind seeing Nan return for a full series at some point. But for now I can definitely say that Nan was a big surprise as I didn't see myself enjoying it at all.

Kathy Burke keeps the faith in convent school-comedy

O'Malley takes the strictures of the '50s Catholic church and lampoons them mercilessly, from the nuns striking the fear of God into their unworldly charges, to the convent girls themselves, for whom mortal sin battles for space with boys, cigarettes and rock 'n' roll.