Backstage in Biscuit Land

"Random" has become one of the most abused words of our generation, freely applied but with little accuracy. Jess Thom reminds us of what randomness really is: she has Tourettes, which means she says "biscuit" roughly 16,000 times per day, along with a variety of other verbal tics which are, she admits, completely mysterious in their origins. However, there is nothing random or mysterious about the obvious strengths of her show, which acts as both an education in her condition and a whirlwind demonstration of its creative possibilities.

Thom's first challenge, which she overcomes immediately, is to conquer the natural, slightly nervous politeness of her audience. It's okay to laugh, we are assured, because we are laughing on her terms. When politeness acts as a substitute for critical thought, she has no use for it and neither should we.

Thom also has no interest in being coddled or stigmatised. To do either would miss every point she makes, which she does as regularly as she makes us laugh. The show is a double-act between her and "Chopin", her wonderful assistant, whose skills at comedic improvisation are tested (and proven) by Thom's consistent stream of glorious nonsense.

Thom recounts how her condition has affected and informed her life: as a performer rather than an audience member, she explains, this is probably the only time she is guaranteed not to be asked to leave the theatre. Everyone has a right to art and laughter, but Thom reminds us that not everyone gets to enjoy it.