Ill-judged structure and routines make for an uncomfortable debut
Making your show-title remotely related to winning awards almost always leads to calamity, and Adrian Minkowicz' Best Newcomer falls head first into that trap. Fringe history is laden with comedians who have used video footage to devastatingly strong effect, usually succeeding best when it flows seamlessly as a complement to the live stage action. This New York-based Argentinean comic manages to suck the life from any momentum he builds up in his between-film chatter, and the effect is to make his show seem like a set that's been swiftly thrown-together with the help of funnier friends as they advise him on how best to approach a debut Edinburgh show.
Of those comedy pals recognisable to a UK audience, Ari Shaffir, Tiernan Douieb and Phil Nichol are among those trying to put him off even staging a Fringe hour, the all-too-accurate subtext being that he's simply not ready. There are hints at potentially decent observational material about the UK's attitude to the Malvinas / Falklands, and the time he was pulled up for his not-perfect English when he can effectively speak one entire language more than his critic.
But when he struggles to recover from telling a routine about rape which leaves some members of a savvy liberal arts crowd visibly appalled, you wonder if the language barrier is actually impeding him. Rather than working on any acceptance speeches, it's time for Adrian Minkowicz to head swiftly back to the drawing-board.
Banshee Labyrinth, run ended.