Who can fill French and Saunders' shoes?
Bruce Dessau's on Faultless and Torrance: this endearing double act who manage to be both childishly ludicrous and strikingly thoughtful at the same time.
Reviews for Faultless And Torrance In A Night Of Shining Armour (2009)
‘So many sketch shows are hit-and-miss affairs that it's a real pleasure to find a show fully in command of its highly imaginative material.
The comedy of Judith Faultless and Alys Torrance, here part of the Camden Fringe, is absurdist and theatrical, two aspects demonstrated particularly beautifully when Torrance mimes the making of a Paul Smith shirt and Faultless has a fight with her idiot mittens. Both are silent pieces; both are skilful examples of physical comedy. But it's credit to the duo's versatility as performers and writers that one of their most dialogue-heavy pieces is also probably their best: a police officer trying to solve a murder case by fruitlessly applying lessons she's learned at school, including Pythagoras's theorem, Bunsen burners and simultaneous equations.
This is a highly polished show but, better still, wild-haired eccentric Torrance and straight-laced Faultless have charisma in spades. This not only boasts strong sketches, it does what the best in the genre should do: immerse us thoroughly in a weird and wonderful world.’
Metro (13 August 2009)
Reviews for Faultless and Torrance take their Faces/Off (2005)
'The writing is mostly brilliant ..... however, where the duo really shine is in the realm of physical comedy, as both actresses give wildly exaggerated performances that are at complete contradiction with their initial appearances, to fantastic effect.... The two relentlessly work to keep the show interesting, never repeating the same basis for a gag or set piece and so perpetually generating new ideas.'Chortle
‘….they display their Radio 4 credentials by taking an idea and running with until it is not so much crying to be left alone as shaking in bewilderment. Then just when you thought it had been stretched to the point of breaking, they bring it back neatly together, as if they had done nothing bizarre in the first place.’ The Stage
Reviews for The Snag (2004)
“Deep down, wet-your-pants funny” Teletext
Reviews for The Flirt Lab (2003)
“Completely daft… full of the kind of one-liners and silly gaffs that epitomise British humour” Three Weeks