Stuart Goldsmith: Another Lovely Crisis

Pathologically competent, inoffensive and charming, Stuart Goldsmith may be the Kate Middleton of comedy. Another Lovely Crisis is only his second solo show at the Fringe but it’s on a par with this year's royal ceremony in terms of flawless execution. Sure, you can’t help but like it, admire it—heck, preserve it on a mug—but who can ever truly love this sort of perfection?

At no point in this 55-minute quick-fire set does the audience feel a quiver of doubt in Goldsmith's ability. No story outstays its welcome or takes a disquieting turn. He is adept at assessing the crowd, seemingly armed with an appropriate comeback to any cadence of snicker or groan a line may receive. 

A performing machine, yet Goldsmith seems so lovely and ordinary at once. Is there some sense, as with Middleton, that perhaps underneath the sprightly surface lurks a power-hungry sociopath? You’ll want to believe it just to give him a more human dimension. “I’m dirty, but in a nice way,” we’re informed with an endearing lack of conviction. “You can take me home to meet your mum, just don’t leave me alone with her.”

Another Lovely Crisis centres on Goldsmith’s anxiety, frankly admitted as his single debilitating flaw. Well, debilitating to the extent that he bones up on CPR procedure and heroically navigates crises – it's hardly an eating disorder or a botched marriage. Until we see something with a little more depth and danger, he’ll remain at a tasteful and composed distance from being a true people’s comedian.