Edinburgh Fringe comedy review

This spritely and stupidly inventive show is the funniest take on Arthurian legend since Monty Python.

American clown Madeleine Rowe plays our hero, destined to pull the sword from its stone, take his divinely mandated place as King of England, and – after the solemn coronation – secure himself a Guinevere.

On this prophetic quest, our gallant knight has his (hobby) horse Hermes to offer him company – and more. What secrets the equine sidekick must know!

Rather than lean into the worlds of machismo or chivalry, Rowe has created a rather otherworldly hero, guileless and hopeful yet ruthless when needs be…  and agonisingly incapable of scabbarding his sword first time.

The performer adopts a gruff voice that mangles words into barely recognisable shapes, convoluted and flattened intonations that even Matt Berry might call ‘a bit much’. But the hilarious style works like a charm – even get laughs out of he Lord’s Prayer – while softening the already vulnerable persona, making it easy for audience members to volunteer to come and play.

Rowe mucks about with anyone who wants to in a delightfully childish spirit of play, such as making it very difficult for the anointed Archbishop Of Canterbury to place the crown upon our hero’s head. 

The American comic is as generous as they are skilful, with subtle expressions that say so much, both in their face and their movement.  Rowe also affectionately mocks the grandiose style of epic storytelling. ‘I must do what must be done,’ becomes a refrain, made funny by its repetition, as well as our wide-eyed clown’s naturally funny cadence. As in everything in this charming show, the straight face with which the nonsense is delivered is all part of the appeal.

As the Fringe increasingly becomes dominated by clown shows, Knight, Knight is one of the best.

Review date: 24 Aug 2024
Reviewed by: Steve Bennett
Reviewed at: Underbelly George Square