The first thing I should say about this book is what it isn’t.
It isn’t a celebrity biography (although there are mentions of Mr. O’Briain’s life).
Nor is it a recreation of his stage show (yet it does include references to some of his routines).
What it is is an outsider’s look at the idiosyncrasies of England as a country, and the English as a race, interspersed with a diary from his last nationwide tour.
Another thing which this book is not is one of those Christmas knock-offs – hastily thrown together and, just as hastily discarded.
Mr O’Brian has obviously put some effort into researching the social history of England (which he accepts is not a subject covered in great detail in Irish schools). This research manifests itself in a number of references to books, articles and speeches from various points in England’s history.
It would be wrong to say that this is a dry, scholastic tome. There are plenty of incidents and anecdotes which amuse, and more than once I had to stop reading because I was laughing so much.
He seems genuinely impressed at how the English adapt to any situation which may arise, but always seem to moan about things even (especially) when things are going well.
If you have seen Mr. O’Brian live (unfortunately I haven’t) you will know that a portion of his set requires interaction with the audience which can cause the show to go off on wildly varying tangents making each show an individual event. The two most used questions of his audience being: “What do you do?” and “Have you ever interrupted a crime”. Some of the answers to these simple questions have since taken on a life of their own and became integral parts of the set – the story of the car thief can stand repeated telling. Likewise his story of an encounter with a “squaddy” at the Rawhide Comedy Club in Liverpool is priceless and probably could only have happened in Liverpool.
His description of what makes a room suitable for his show is fascinating and, as much as I like the Philharmonic Hall in Liverpool, I can understand why it isn’t one of Mr. O’Briain’s favourites (orchestra pit distances performer from audience, design of balconies means audience cannot see the lower levels and, therefore, who Mr. O’Briain is talking to).
There are stories of nights when things don’t go as planned (Sheffield) or parts of the set which don’t work (a section on a certain brand of crisps kills in Ireland, but falls flat in England). There is also the amazement with the idea that Ken Dodd (touring at the same time) is doing shows of over five hours when Mr. O’Briain thinks two and a half is a marathon. This culminates in Mr. O’Briain getting a ticket for the Ken Dodd show in Leeds and a chance to meet and exchange ideas with a member of the “Old Guard”. This was one of my favourite parts of the book.
Overall, I found this a very enjoyable read, well thought out and articulated in places, book-droppingly funny in others.
Oh, and Mr. O’Briain’s conclusion about the English – miserable, and happy being so.
I concur.
4 out of 5.
It isn’t a celebrity biography (although there are mentions of Mr. O’Briain’s life).
Nor is it a recreation of his stage show (yet it does include references to some of his routines).
What it is is an outsider’s look at the idiosyncrasies of England as a country, and the English as a race, interspersed with a diary from his last nationwide tour.
Another thing which this book is not is one of those Christmas knock-offs – hastily thrown together and, just as hastily discarded.
Mr O’Brian has obviously put some effort into researching the social history of England (which he accepts is not a subject covered in great detail in Irish schools). This research manifests itself in a number of references to books, articles and speeches from various points in England’s history.
It would be wrong to say that this is a dry, scholastic tome. There are plenty of incidents and anecdotes which amuse, and more than once I had to stop reading because I was laughing so much.
He seems genuinely impressed at how the English adapt to any situation which may arise, but always seem to moan about things even (especially) when things are going well.
If you have seen Mr. O’Brian live (unfortunately I haven’t) you will know that a portion of his set requires interaction with the audience which can cause the show to go off on wildly varying tangents making each show an individual event. The two most used questions of his audience being: “What do you do?” and “Have you ever interrupted a crime”. Some of the answers to these simple questions have since taken on a life of their own and became integral parts of the set – the story of the car thief can stand repeated telling. Likewise his story of an encounter with a “squaddy” at the Rawhide Comedy Club in Liverpool is priceless and probably could only have happened in Liverpool.
His description of what makes a room suitable for his show is fascinating and, as much as I like the Philharmonic Hall in Liverpool, I can understand why it isn’t one of Mr. O’Briain’s favourites (orchestra pit distances performer from audience, design of balconies means audience cannot see the lower levels and, therefore, who Mr. O’Briain is talking to).
There are stories of nights when things don’t go as planned (Sheffield) or parts of the set which don’t work (a section on a certain brand of crisps kills in Ireland, but falls flat in England). There is also the amazement with the idea that Ken Dodd (touring at the same time) is doing shows of over five hours when Mr. O’Briain thinks two and a half is a marathon. This culminates in Mr. O’Briain getting a ticket for the Ken Dodd show in Leeds and a chance to meet and exchange ideas with a member of the “Old Guard”. This was one of my favourite parts of the book.
Overall, I found this a very enjoyable read, well thought out and articulated in places, book-droppingly funny in others.
Oh, and Mr. O’Briain’s conclusion about the English – miserable, and happy being so.
I concur.
4 out of 5.
©K. C. Beatson – 06/12/2009
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