Media...
WIL ANDERSON, reviewed by Lenny Ann Low (Sydney Morning Herald)
ON first impression, Wil Anderson is something of a cool and hip figure. He hosts a sharp and mildly smug TV show about the persuasive powers of advertising. He twitters controversial, headline-making comments from award ceremonies. On stage he wears black skinny jeans, black tops, black jackets and black thongs. With his rakish frame and sometimes aggressive onstage style, Wil Anderson looks like a trendy, indie dude.
If that was all he was, live stand-up would lose a powerful weapon. Anderson draws many people into his comedy.
For this show, teens mingled with senior citizens and hipsters sat among shouty drinkers. He appeals to all because he mixes exuberance, intelligence, boyish dagginess and well-read opinion. He is amiable and argumentative, a sweary wit who is adept at drawing on the innocence of his country-boy background while remaining an urban loudmouth.
Wilful Misconduct begins with Anderson coveting old age. Being ancient enough to scare young people with pantlessness, doddery behaviour and superannuated drug-taking thrills him. It's so-so comedy, amusing but not razor-sharp. More cutting and convincing are Anderson's subsequent views on modern parenthood, celebrity, political correctness, equal rights, beauty, racism and evolution.He sexes it up with a microphone stand for a glorious illustration of vanity in the age of fame and fake beauty.
Anderson's great weapon is seducing those looking for one-dimensional offensiveness and then slipping in a lesson about racism or moronic behaviour. He doesn't preach but he does make life hard for oafs. Jokes about masturbation and pampered children are followed by material that supports gay marriage and spurns Australia Day racism.He still elicits shocked gasps, but by show's end Anderson's greatest skill is blending charm, insight and causticity, whatever the topic.
WIL ANDERSON, reviewed by Elissa Blake (The Sun-Herald)
WIL ANDERSON’s stand-up show WIlful Misconduct is hilarious, warm and surprisingly rude. The host of The Gruen Transfer zeroes in on rugby players in group sex situations, masturbation and bleaching that part of the anatomy that generally doesn’t see the light of day.But even at his most offensive, his is still a smiling, energetic, reassuring presence. The comedy never turns mean.
That said, he’s no softie. This show is scathing regarding racism, homophobia and anything that strikes him as moronic. He claims to be on a mission to wipe out morons so that those remaining can evolve into a super-species.
“People who take their kids to a Lady Gaga concert and then complain about it- let them go,” he says, like a preacher in the pulpit. His delivery is never less than whip-smart and his impersonations of grumpy grannies are terrific.
Wilful Misconduct won the people’s choice award at the Melbourne Comedy Festival in April and the show has been polished on tour around Australia, so Sydneysiders are seeing him in peak form.
WIL ANDERSON: WILFUL MISCONDUCT, reviewed by Chris Hook, The Daily Telegraph.
ANDO The Comedy Commando, indeed. Sure, Wil Anderson might use his self-granted moniker to take the mickey out of himself but it has a resonance.
Anderson’s annual shows are carefully written, worked and re-worked and completely new. So even if you made it every year, it’s never a best-of package.
This time around, Anderson begins by ruminating on the distant pleasures of getting older. As in, really old. And when he does, it’s fair to say that he’d be best avoided by any young people keen to enjoy their lives without rude interruption.
From there he rips into various subjects, seguing neatly from parenting styles to critiques of popular culture and media.
Anderson’s profile goes beyond typical stand-up audiences, attracting people of all ages, and none are disappointed because he might be a little naughty but never offensive.
To see Anderson live is to see the smooth TV host uncensored in high-octane form. Top stuff.
WILFUL MISCONDUCT REVIEW,
SUNDAY HERALD-SUN, 4 ½ stars
The Gruen Transfer host Wil Anderson may not win the Gold Logie he’s up for this year, but he certainly won gold with the audience at the Comedy Theatre in his new stand-up show.Wilful Misconduct is his 15th festival solo show and arguably his best yet.
Touching on everything from drugs to Josef Fritzl and “vagazzling” (if you have to ask, you don’t want to know), there was something to suit every type of humour.
It does come with a disclaimer for those against political incorrectness. However within the first five minutes Hey Dad! scored a mention and we were told there wouldn’t be a childhood obesity epidemic if kids were still allowed to work in sweat shops.
Georgia Love.
WILFUL MISCONDUCT REVIEW: BEAT…
If one had already formed an opinion on Wil Anderson based on his TV appearances, one may be surprised at how quickly their opinion will change in the live stand-up environment.
On screen, Anderson comes across as loud, aggressive and at times smug; on stage and on his lonesome, it’s his nervous energy that’s immediately palpable. It’s as if he is shouting to block out the voices in his head; his confident exterior becomes overshadowed by a sensitivity and socially-conscious core screaming to be heard, not merely noticed.
Few comics possess the skill to execute informed opinions on issues of relevance as voraciously and passionately as the cynical black-clad Anderson, who will never cease to find material when living- as he often reminds us- in a dark, disturbing and sad world.
Anderson’s relentlessly scorching attack on the intolerant, ignorant, racist and homophobic was gripping, moving, and utterly memorable.
It’s to the vast betterment of the audience that Anderson has the audacity and courage to express his views completely uncensored.
Sure, Anderson has no problem with jokes of a crude and obnoxious nature. But overall, it’s admirable that Anderson can be so unrestrained and tenacious while remaining incredibly perceptive.
Also notable was Anderson’s approach to Wilful Misconduct- one in which he based his show around topics he held as most pertinent, issues of racism, a corrupt beauty industry, aging, society’s blame mentality, and euthanasia are all included.
Anderson criticizes everything that provokes one to swing an axe to the television set and distils it into relatable and compelling prose.
Whereas most comedians tip-toe around issues of racism, Anderson marches right up to the racist’s face abominating, detesting and condemning the “fuck off we’re full” southern cross tattoo would’ve sought to burn it off with their own cigarette lighter.
Wilful Misconduct is an immensely thought-provoking and riveting show- clever, informed and witty prose doesn’t come with more necessary expletives, frequent laughs, and burning social conscience than Anderson’s.
By Christine Lan
WILFUL MISCONDUCT REVIEW: RHUM…
I challenge anyone to not like Wil Anderson. Comedians emulate him, women want to be with him, men want to shout him drugs. At least I do, if only to wind him up for one of his brilliantly vitriolic tirades where he threatens to beat a toddler to death with a rod.
The smiling, wise-cracking comedian is a household name thanks to gigs hosting shows like The Glass House and The Gruen Transfer - funny, thinky shows that inevitably get axed too quickly - as well as bravura performances at the comedy galas where he bounces onstage and unleashes the four minutes of his act that is suitable for broadcast before shuffling off in thongs.
In Wilful Misconduct, he gives us that material again laden with over an hour of well-intentioned misanthropy. Without giving too much away, the theme of the show is Anderson reaching his limit of tolerance towards the stupid, vacuous and fuck-witted in the world. To wit, he winds up and unleashes a flood of barely controlled frustration, fury and hilarity on topics from babychinos to religion, and back again.
Anderson is intelligent, articulate, foul-mouthed and quick-witted. He dealt with hecklers swiftly and mercilessly, and got the crowd on his side seconds after walking out by taking the piss out of them. Minutes into the show he picked out the reviewer from the Comedy Festival, had her stand up, charmed her, quizzed her on her sexuality and propositioned the crowd on her behalf. I spent the show in hysterical laughter, albeit between quietly shitting myself and trying to hide my notebook.
Cerebral, frenetic, just fucking awesome.
Chuckle Factor: 10/10
***** broadwaybaby.com, Edinburgh 09
Wil Anderson is quite simply the best stand-up I have ever seen. Moving through material at a breathtaking pace, the jokes come quick and fast with almost every sentence generating at least one laugh from the packed audience. Scarcely pausing for breath, Anderson holds the stage with an amazing energy, captivating the audience and rousing the audience into a frenzy of excitement. By the time it comes to the end of the show, they are roaring in the aisles and drumming the floor with their feet, not willing to let him go.
A seasoned pro at stand-up, Anderson has previously been nominated for a Perrier Award, named GQ's Comedic Talent of the Year, and sold out venues across the world. It is easy to see why. He has such an ease on stage that it never appears like a “performance” as such; more like a fantastically witty chat with a friend. Indeed, there is an air of spontaneity present that really lifts the show. On the evening I watched, two separate latecomers entered and Anderson broke out of his routine to banter with both of them, unleashing new anecdotes and jokes based entirely around their answers.
He crams many topics into his hour, ranging from obese children to terrorism, gay marriages to the differences between Aussies and Scots. There is a slight running theme of personal responsibility throughout his topics and they certainly flow very well together, despite being seemingly random.
Although there is a touch of unashamed macho-ness about some of his humour, Anderson actually achieves something deeper than mere laughs and delivers something rather profound.. As strange as it seems, this is a stand-up who is actually rather inspirational. He has a knack of finding truths in things that, when explained, are blindingly obvious and rather funny. Bad logic and poor argument are both discussed, and there are two hilarious exchanges with God over his Facebook page and an extended conversation over the day He designed the human body with Anderson pointing out some of the flaws in the design.
When leaving the venue I saw Anderson being beseiged by fans for photos and autographs and I realised that he does fit the image of the person you'd like as a best friend. He'd make you laugh for hours on end, whilst also sorting out your life with some impenetrable truths. For an hour of rich comic insight, head down to the Cow Barn straight away. You really won't regret it.
**** Wil Anderson, Wilosophy, Fest, The Skinny.
Wil Anderson is like a comic snowball rolling down the side of a mountain, ironic considering his Antipodean heritage. Starting off slowly, with gentle gags that seem worryingly over-dependant on knowledge of Australian culture, he quickly builds up force and momentum, absorbing ever more topics into his routine. As his pace of delivery becomes quicker, even stopping for breath seems secondary to his desire to entertain. Finally, as the set reaches its conclusion with a sharp examination of intelligent design theory’s inherent flaws, you realise that you have been overcome with the careering avalanche of Anderson’s humour and reach its conclusion in a crumpled, giggling heap.
Anderson is clearly an erudite comic but is highly eclectic his choice of ways to amuse. Drawing on the humour of the crude, surreal, subversive, reflective and just downright childish, the resultant melting pot feels like two hours of comedy shrink-wrapped into one. Indeed his feverish delivery guarantees that some jokes slip past so quickly that you may think you have missed them; only to find out later that evening that they have burrowed their way into your unconscious, as you find yourself laughing out loud in what could be described as comic aftershocks.
Anderson’s theme of individual responsibility is expertly woven throughout and gives unity to topics as wide-ranging as obesity, torture and economic policy. This subtle, coalescing motif marks out Anderson as an accomplished comedian and allows his humour not only to entertain, but also to make us question some of our preconceptions on some difficult moral problems.
**** Wil Anderson, Wilosophy, Hairline.org.uk
Wil Anderson is a rare comedy gem in the Underbelly’s crown. Since his 1999 nomination for a “Best Newcomer” Perrier Award, each show has been meticulously crafted to reflect his own views and theories about the world that lies at his feet, whilst always including the incredible wit and comic timing that is his signature..
There is something magical about the way that Anderson can join topics such as gay marriage, intellectual design, the financial crisis and foreplay into one seamless and impressively intelligent comedy show. The audience laps up every word as Wil reflects on his own life experience and beliefs in the wonderful show that is, Wilosophy.
He delves into the complexities of religion, the seriousness of childhood obesity and the manipulative use of language to blur the true meaning of any statement. A seemingly jovial (and slightly devilish) audience poll about opinions on foreplay suddenly becomes an exceptionally hilarious example of how a single word can instantly change your opinion on the subject.
This is a comedian who makes you think. He challenges you to consider not just that the grass may be greener on the other side, but why it is greener. Within the same breath he will provide you with exact statistics and facts on some very serious political issues, and effortlessly top it off with a deliciously immature observation that, frankly, makes you pee yourself.
Wil Anderson’s comedy has matured nicely, like a good wine. He might have inadvertently become the philosophical hippy that he denies so fervently, but he certainly is the funniest thing since sliced bread.
REVIEW: Wil Anderson- Wilosophy. Written by Gemma King, 2009
I used to see Wil Anderson perform a fair bit in small Sydney venues, but that was four or five years ago. Since then my relocation to Melbourne has put a hiatus on all things Wil.
I was eager to see whether anything had changed: the man, the material, the mood, the thongs… Reassuringly, the thongs were still there. And he was as animated as ever, jumping about, arms flailing, barking wide-eyed with that trademark rapid-fire delivery. Still taking the piss out of Australian politicians and sports heroes and, yes, still dissing Shannon Noll (though admittedly, not with the same gusto), Anderson appeared to be the same hyperactive Energiser Bunny that I used to know.
But as the show went on, new layers appeared. He mentioned having a tough year in 2008. He threw a quick g’day to two mates who’ve passed on. He’s single now, and has been (allegedly) celibate for seven months. And, what’s this?
I think there’s been an epiphany.
There has always been a strong political component to Anderson’s work. But Wilosophy is imbued with a social conscience extending to the environment, animal welfare,
gay rights, homelessness, and a host of other huge subjects
that weren’t a feature of the happy-go-lucky Wil of times past. The jokes were intelligent and wickedly funny, but there was a genuine frustration behind it, a deep-seated urge to address some cause greater than himself.
Done badly, this new approach could easily backfire.
There’s
a real risk of seeming didactic that could bring the walls of resistance up, especially for a comedian known for innocuous banter and silliness. But Anderson manages to balance this sudden maturity with outrageous humour that has the foundations cracking from uproarious laughter. He got us all thinking, and laughing. The new formula works.
The finale is as ‘Wilosophical’ as it gets – a political, financial and social summary delivered with faux sincerity from a stool
á la Dr Phil’s Final Thought solidifies Anderson’s new role as ‘manic soap-box preacher with jokes’.
I couldn’t help feeling a bit of unwarranted pride. I didn’t raise him. He’s not my project. But standing in front of me was a performer who’d grown exponentially, who’d found the middle ground between bitter dissatisfaction and zen-like acceptance and turned it into comedy. The thongs were still there, but the feet inside were those of a different man.
Respect.
Chuckle Factor: 9.5 / 10
WIL ANDERSON: WILOSOPHY ****
The Age 2009.
There has been a tendency in past, recent, comedy festivals for the local stars to rest on their laurels, trot out some familiar older material and generally coast along.
Not in Wil Anderson’s surprisingly heartfelt, regularly courageous and consistently funny new show.
Anderson’s performance, at times aiming for an earnest State of the Nation, mixes scathing social commentary and jocular potshots.
He will throw up a collection of newsworthy- and usually alarming- tidbits of information before swatting them away with a biting punchline.
His delivery is, as always, strident. He regularly jumps up and down on the spot or prowls the stage like a caged lion to drive home a point.
Yes, his crowd draws heavily from the left and, on Sunday, Anderson cleverly tapped into that group’s disillusionment with the short-term populism of Prime Minister Kevin Rudd.
But he is hardly exclusionary. Don’t think he’s pleased with the Libs. Other highlights: derisive jabs at Family First, organised religion, and hilarious rants on society’s perception of drugs and alcohol. Brilliant.
(Andrew Murphett.) The Age 2009. |
