Review: Nate Kitch

A deconstructive and inventive debut that keeps the audience guessing

★★★
comedy review (edinburgh) | Read in About 2 minutes
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Nate Kitch | Image courtesy of Gilded Balloon
Published 05 Aug 2024

A pretty good indication of Nate Kitch's niche appeal is that while he was playing to limited numbers on the afternoon I caught him, almost a quarter of those (technically) were repeat business, eager to see where his endlessly disassembling debut might end up on take two. A born contrarian with contempt for the safe and immediately appreciable, he's an inveterate deconstructer of the form, helping you see conventional stand-up's limitations anew. Opening with a fourth wall-dispensing entreaty to the crowd to help find an extension cable, the show literally takes place in and out of the room, with his restless metacommentary ongoing in concert with his tech, backstage, in the audience and most often, in the corridor outside, the door held ajar or otherwise. When he speculates about gatecrashing another comic's hour running concurrently, it hardly feels like a passing fancy but doesn't carry the bitterness of a threat, merely the spirit of exploration.

Sure, there are longeurs, moments of bafflement and high-risk strategies that don't come off. But there's also a compelling rhythm and artistry to the way his routine about Kazimir Malevich's Black Square painting literally unfolds, the faux-pretension he exhibits in snatches of Dylan Thomas. Meanwhile, the vacuous satirical digs at Keir Starmer and the comedy rule of three, the distracting way he perches his glasses, Eric Morecambe-style except oblivious to any actual intent, might be tongue-in-cheek but confirm the semblance of order, structure, callbacks and written show. Take a chance on him.