Lucie Pohl has become a star in the geeksphere, not just for her appearance on Red Dwarf – a childhood favourite of mine – but for voicing Mercy in the hit game Overwatch. For those of you unaware, Overwatch is a first-person-shooter made by Activism-Blizzard, and has essentially been a money printing machine for the company.
The show starts with Lucie on stage, breaking into dance just because she felt like it, before then tackling a real mismash of topics. She touches upon her heritage, language, blowjobs, relationships, defecation, ‘fan butter’, fame, and death. None of these sections feel particularly related to one another, which is not necessarily a problem, although the leap from one topic to another was at times a little jarring.
The ending, which by the way you are absolutely going to want to stay for, was simultaneously the best and the worst bit of the show for me. The sudden intimacy was a refreshing change in a comedy show, and after such lofty descriptions of fame really worked to make Pohl relatable again. It was intense, and not a single member of the audience made a sound as Pohl got ‘real’ with us.
However, it also tried to make the grabbag of disconnected content appear intentional, and I can’t believe they were. At points, it felt like she was just trying to untangle the strands of mismatched conversation, but even so, but even so, I was willing to look past it just because of how well Pohl had enamoured herself with the audience.
The slightly skittish, definitely excitable comedian effortlessly engaged with the audience, who were seemingly comfortable enough to occasionally to ask her questions. Pohl jokingly suggested she had procrastinated over writing the show, and given the disconnected points it’s easy to believe. Regardless, her comedic talent safely carried her through, meaning she was able to blag it, producing a show that, although disjointed, had the audience laughing hard.
Tainting Whinnie the Pooh is unforgivable though.