Penelope Solomon: I Was a Penis at the Royal Festival Hall
A regrettable return to the Fringe for a curiously old-fashioned act
This article is from 2016.
Penelope Solomon is certainly a unique Fringe act. There can't be too many comedians who hand out a feedback form to their crowd at the end of a show in order to compile what worked and what didn't. You have to imagine that one column would be a little busier than the other. And in 2016 there aren't many acts doing a routine that can charitably be described as being inspired by the loathed 1970s national-stereotype sitcom Mind Your Language.
Solomon takes to the stage with a desperately poor oral sex joke and it's rapidly apparent that this is going to be a very long hour; the fact that she occasionally waited for our applause only made the ordeal worse. Her show is partly a verbatim regurgitation of her CV (she notes without any anecdotes whatsoever that she once worked with Stewart Lee and Richard Herring) and partly an inadvisable resurrection of some very old material (her online showreel features the 'playing recorder with her nose' bit from a gig in what looks like the 90s).
Bemoaning the fact that comedy commissioners haven't exactly rushed to get her work on TV, she then acts out rejected and, by her own hand, perfectly states the case for the prosecution.
The Stand 6, run ended.