Kevin Eldon

Kevin Eldon finally makes his Edinburgh solo debut

Comic actor's cameos have lit up classics from Fist Of Fun to Four Lions, but at a rate of 'one poem a year', it's been a long road to the Edinburgh festival fringe.

Moss loses his gigantic mind and bunks off work for the afternoon. With Roy standing dumbly by, he thrills to his newfound freedom. Meanwhile, Jen has bet Roy £100 that he can't ditch the phrase, "Have you tried turning it off and back on again?" for a whole day. As usual, Graham Linehan's magnificent mind draws all the strands together in a barkingly funny denouement. And the whole episode is in flashback. And there's an awesome cameo by Kevin Eldon as an unintelligible customer support telephonist. Beat that, other comedy writers.

Oddly enough, North by Northamptonshire doesn't spell 'bugger all' backwards, although that is roughly the message emitted by playwright Katherine Jakeways about small-town life. With a narrator helicoptering above the characters, whose innermost impulses are purportedly revealed, the drama is clearly begging to be compared to Dylan Thomas' Under Milk Wood, set in Llareggub with its famously mischievous spelling... in its dreams.

For while Thomas' dramatis personae, in all their disappointed, perverted, mixed-up reality are revealed in subliminal flashes and dreams, Jakeways' people bare all in daylight. Vomit, infertility, yawn-inducing pubescent fantasies and the loneliness of the middle-aged divorcee contemplating a Jane Austen box-set and a bag of chocolate raisins are variously presented for our consumption. It is at once too much information and not enough. Everything is regurgitated 9 to 5, leaving these characters with all the backstory of Teletubbies.

While Thomas had two narrators, one delineating conscious activity, the other overseeing the subterranean world of the psyche, here there is just one, the estimable Sheila Hancock. Poor Sheila Hancock, she sounds as if she doesn't know where to look. Her magisterial yet subtle inflexions are completely wasted as she introduces the supermarket manager (Mackenzie Crook), who jokes over the tannoy about vomit in the aisles, so she settles for a faintly reproving note. Penelope Wilton's wonderfully dolorous tones are also underemployed as the producer of a talent contest, gently prodding the posh teenager, whose interest in history is entirely based on the amount of cleavage on show in portraits.

Jakeways has another role beyond that of author. She plays Esther, the most obnoxious character of all, who indulges in public humiliation of her husband (Kevin Eldon) for his failure to make her pregnant. If Esther was a finely-crafted suburban gorgon, a creature at once excessive and yet explicable, a Lady Macbeth or Miss Havisham of the boot-making shire, this would make sense. Actually this was another case of a woman diminishing a man, because that has become as acceptable as the opposite is unacceptable.

A new four-part series with the potential to become a classic in the Little Britain mode. An all-star cast - Sheila Hancock, Mackenzie Crook, Penelope Wilton, Felicity Montagu and Kevin Eldon - star in Katherine Jakeways' comedy about stultifying small-town obscurity, where middle-aged no-hopers live lives of quiet desperation and the young leave town at the earliest opportunity.

The laughs are cruel, but the monsters of suburbia are curiously sympathetic, and the characters so well drawn and well played that this could run and run.

For this two-hour bonanza in aid of Great Ormond Street Hospital Children's Charity, Channel 4 recently assembled 24 of Britain's best comedians to perform in front of a live audience at the O2 arena in London. So - deep breath - Jack Dee, Andy Parsons, David Mitchell, Fonejacker, Jack Whitehall, Jo Brand, James Corden, Jason Manford, John Bishop, Kevin Bridges, Kevin Eldon, Lee Evans, Mark Watson, Michael McIntyre, Noel Fielding, Patrick Kielty, Rich Hall, Rob Brydon, Ruth Jones, Sean Lock, Catherine Tate and Shappi Khorsandi take turns on stage to make it the biggest live stand-up show in British history. If that's not enough for you, Alan Carr and Bill Bailey perform with Stomp and Ricky Gervais, Stephen Merchant and Johnny Depp provide additional sketches.

Great Ormond Street Hospital is the recipient of this fundraising gala - the biggest live stand-up concert in UK history. And they couldn't have asked for more from the roster of stars who each donated five minutes last week at London's O2 Arena. Some hefty editing will be needed to get this show down to the two-hour running time it's been allotted and if the rude bits from Jonathan Ross and Mark Watson end up on the cutting room floor, then they may survive in the DVD which goes on sale on April 26.

Among those who'll definitely make the cut are, in no particular order, Michael McIntyre, Jack Dee, Bill Bailey, Kevin Eldon, Jason Manford, Jo Brand, Sean Lock and Noel Fielding.

The evening opens with a raucous dance number from Stomp and closes with a legendary performance from Lee Evans, looking the grand old man of stand-up in every sense.

Julia Davis is certainly no stranger to black comedy, having already appeared in twisted shows like Human Remains and Nighty Night, but it's a little surprising to see Spaced's Jessica Hynes (nee Stephenson) partnering her to write and star in a black-hearted tale of suburban revenge...

Lizzie (Davis) and Sarah (Hynes) are two fiftysomething housewives living in suburbia, both married to loathsome husbands who treat them with callous disregard and sneering contempt. Lizzie's husband John (David Cann) is having an obvious affair with their corpulent, lazy housekeeper Branita (Jessica Gunning); Sarah's husband Michael (Mark Heap) has taken to having meaningless, functional sex with her while he hides her face behind a pillow. Both introverted women are cowed into submission and have allowed themselves to accept their lot in life, as unloved slaves whose only escape from tedium and bullying is an amateur dramatics society. However, after a day of particularly unforgiveable treatment by their other halves, Lizzie and Sarah find themselves pushed to breaking point and, having come into possession of a handgun, decide to enact their revenge...

Lizzie And Sarah is of a particular style and content that many people just won't find particularly funny, that much is certain. Indeed, the BBC were allegedly so dumbfounded by this pilot's depressing tone that they scheduled it for a Saturday night graveyard slot of 11.55pm, so the chance of a full series doesn't look likely. If one is even necessary, as the story appeared to reach enough of a conclusion that I can't imagine what else Lizzie And Sarah would have to say. It was effectively 15-minutes of matrimonial bullying that segwayed into a domestic revenge scenario that lacked imagination because it was basically comprised of shooting their psychological aggressors dead with a gun they'd stolen from a thief.

The titular characters themselves were interchangeable; having no meaningful differences in temperament, accent, lifestyle, or taste in men. Their horrid husbands were likewise peas in a particularly odious pod. A subplot involving a memorial for a girl ran over by her own father's (Kevin Eldon) car, which inspired a musical memorial performed by two teenage classmates (Davis and Hynes), who gyrated to the Sugababes' Hey Sexy for the approval of a talent scout in the crowd, just felt misplaced and could have been cut entirely.

As a fan of Davis, Hynes and black comedy in general (which nobody does quite like us British), Lizzie And Sarah certainly had decent moments of chilling humour, uncomfortable bad taste, and jokes so near the knuckle they drew blood. However, a feeble storyline, near-identical characterisation for the leads, and unimaginative vengeance (just shoot the browbeaters), dealt enough blows to make this pilot feel like a wasted opportunity. I'd like to believe Davis and Hynes knew there'd be little hope of a full series, so opted to complete their story here, because I don't see any reason or need for more.

Julia Davis (Nighty Night, Human Remains) and Jessica Hynes (Spaced, The Royle Family) have partnered for the new BBC2 comedy pilot Lizzie And Sarah, playing two fiftysomething suburban housewives who are ignored by their selfish husbands, but are inspired by the tragic death of a teenager to take revenge.

If you're a fan of very dark comedy, this looks promising, although the "joke" of the trailer appears to the total absence of any traditional laughs and its oppressive, sinister tone. But it's packed full of familiar faces from British comedy (Mark Heap, Kevin Eldon, David Cann, etc), most of whom have appeared in similarly blackhearted comedies; from the aforementioned Nighty Night and Human Remains, through satirist Chris Morris' Brass Eye and Jam.

Apparently, Lizzie & Sarah is being sneaked out on BBC2 with little fanfare and in a graveyard slot (Saturdays, 11:45pm!) because the BBC were shocked by how dark and twisted it is, which is a shame. But I know that fact just gave plenty of people a frisson of excitement. Lizzie & Sarah hits the airwaves on 20 March. I hope it's funny, but in a sick way.

I probably only caught half of Stewart Lee's Comedy Vehicle, mainly because I can appreciate Lee's skill and sharpness but he just comes across as insufferably smug to me. And I like miserabalist, cynical comedy. I also wasn't a fan of the way brief sketches featuring Kevin Eldon, Paul Putner and Simon Munnery would interrupt Lee's standup, often to pointlessly visualize a punchline or joke. It's unnecessary and, personally, I believe it goes against what makes stand-up work - destroying that ephemeral mindspace between comedian and audience. The beauty that allows someone telling a joke to have it interpreted and visualized in a million different ways inside the heads of those who hear it. I don't need, or want, sketches that ram home the point of Lee's words.

Anyway, while it's not a show that leaves me feeling satisfied and laughing heartily throughout, it undoubtedly has a weight of intelligence behind it, so if you're attuned to Lee's deadpan style and tendency to milk phrases dry for comic effect, then you're probably very glad it's coming back.

Stephen Mangan, a wonderful television actor who can do radio very well too (it's a rarer gift than you'd think) plays Sam, a fantasy novelist who gets swirled off into the alternative universe of Lower Earth to do battle for ownership of a magic sword which controls (naturally, what's the use of a magic sword otherwise?) everyone down there. Alistair McGowan plays his fiendish opponent Lord Darkness. There's an Elf Lord too (Darren Boyd), a dwarf called Dean (Kevin Eldon) and a Warrior Princess (Sophie Winkleman). Dave Lamb plays Sam's dog, Amis.