Show Notes
Rachel Parris wears many hats when it comes to comedy. You name it, she’s done it: musical, stand-up, sketch, improv. So it should come as no surprise that she’s also the first woman to front a topical TV comedy show in the UK. No subject is too left-field for a piano rendition, no topic is too serious to find the funny in. So what can she teach James about stepping outside his comfort zone?
They talk about breaking the gender mould of the industry, the importance of thinking on your feet and why taking on a 20-minute set isn’t as scary as James might think. And in discussing her remarkable comedy evolution, Rachel brings her earliest notebook to the studio for reflection. Does she have any regrets? Listen to find out…
Follow James on Twitter @jameshaskell and Instagram @jameshaskell.
More from Amuse Douche with James Haskell
Prepare to be entertained, surprised, and thoroughly amused as James Haskell takes to the stage with his first full-length 35-minute comedy set.
It’s the last episode of Amuse Douche before James’ full length set. Luckily, he’s teamed up with the brilliant comedian Suzi Ruffell to explore the power of comedy in breaking down barriers. Together, they delve into the often unspoken challenges faced by comedians, particularly when confronting misogyny and homophobia.
As the twenty minute live set draws closer, another comedian takes a look at Hask’s previous eight minutes. This time, it’s former dominatrix and American comic Desiree Burch who casts her eye over his material. A far cry from the prudish British stereotype, Desiree isn’t afraid to tackle provocative subjects and speak her mind - so what will she make of James’ work? And has he finally met his match in comedy?
Seven weeks in and the reality of having to do a 20-minute set is hitting James hard. So he decides to share his eight minute set with today’s guest Jordan Gray, to get some constructive criticism alongside her advice.
For Hask, today’s episode feels like meeting an old mate at the pub. But what comedian, actor and classically trained singer Lloyd Griffith teaches him, is that in comedy, this could be a recipe for disaster. What’s funny in the pub with your mates isn’t always funny on stage, and vice versa.