“the passion of the delivery brings an immediacy and freshness that was unexpected”
Entering the venue, hidden round the back of the King’s Cross area, 2Northdown looked every bit the intimate comedy gig; black stage, small set-up of chairs, bottle of water and a stool; threatening the audience-bashing intimidation that often accompanies smaller stand-up gigs. However, with Millerick’s appearance on-stage, it became clear that this was something much more polished. Promising a prepared routine, he moved through his set with angst and hilarity, carrying us along with him through a series of recent misadventures.
The show began with a short video intending to introduce us to the horrors of living in Essex, an introduction which felt slightly out of joint with the rest of the set, but served well to introduce us to the referential self-consciousness of the rest of the set. Taking us through the barbecue etiquette of Essex, a drunken trip to Australia, a run-in with hipsterdom and a questionably enjoyable mental breakdown, Millerick satirises himself and our society with a sardonic, and often self-deprecating wit, showcased by the Stuart Lee generation of comedian. Many of the ‘Grumpy Old Men’ comic tropes remain; drinking too much, hating your life; but the passion of the delivery brings an immediacy and freshness that was unexpected.
Despite being centred around Millerick’s own experiences, and often making reference to middle-aged life, the set felt well-constructed for intergenerational enjoyment, despite the occasional reference that felt a little too niche. Constructing a mid-set breakdown, Millerick’s timing and modulation of tone allowed us to both laugh with him and at him, with some quieter moments of reflection on the desperately depressing messed-up-ness of our own society. In this way, Millerick provides a fascinating on-stage character; both confessional and self-righteous, he brings us on-side with stories that somewhat resemble the triumphant feeling of witnessing a witty chat-show host rip an arrogant celebrity to pieces live on television; the modern world is the arrogant celebrity and Millerick is more than happy to pick it apart.
The material itself is well constructed, but it is Millerick’s performance that brings life to the routine. Crashing around the stage in an angst-driven set, he commands the stage with a ranting wit and a thrown microphone that leaves us feeling in the company of a friend, yet in the hands of a professional. Suitable for all audiences over 16, The Devil’s Advocate is a hilarious traipse through the oddness of modern life that will tickle the coldest of city folk and leave you with plenty of darker material for further consideration.
