National Student reviews HM
Richard Herring – Hitler Moustache
Contrary to what you might have read elsewhere in the dark dank corners of the internet, or even in the Guardian; Richard Herring is not a racist.
They say that no publicity is bad publicity. ‘They’ have been known to talk a lot of bollocks from time to time but that particular phrase is often true and Richard Herring’s 2009 show, in his 25th year at the Fringe, is a case in point.
In case you somehow don’t already know, Herring is currently sporting a toothbrush moustache in a quest to reclaim it for comedy… He hopes he doesn’t get misunderstood.
Now the thing about Richard Herring is he has a kind of involuntary reaction to lines. If he sees a line he feels compelled to cross it. He means no harm, it’s usually more mischief than anything else, he just can’t help himself. Herring loves to test the water, although where most of us might dip a toe in, he goes straight in with his big size nines. There is method to his madness however, and he has a clear agenda this year. Herring is angry (furious not Führer) and has taken it upon himself to try and eradicate fascism, and he needs your help. But don’t go thinking that he’ll be preaching to the converted if you turn up for Herr Herring has plenty to say and you ought to be much less complacent.
Whilst this may not be Richard Herring’s funniest hour, it is bold and brave and brilliant. He argues with himself repeatedly through the show, examining and interrogating himself over his own behaviour and thought processes. Why did I do that? Am I a racist? If I think like that does that make me as bad as them?
Within minutes of his oratory beginning Herring has the audience roaring like a mob, seconds later he’s twisting and flipping contexts and spitting our prejudices right back in our faces. The intricate construction of this show and its many set pieces are a masterstroke.
Hitler Moustache is such a strong show, impassioned, emotive and clever. One of the shows that this year’s Fringe will be remembered for.
by Virgilio Anderson