John Kearns, the only comedian to win both the Edinburgh Comedy Award for Best Newcomer and Best Show, is back with a new gig at the Soho Theatre. Known for his party-shop false teeth and tonsure wig, Kearns presents a show that blends suburban loserdom with existential musings. His latest, 'Don't Worry They're Here', is being hailed as his best yet, offering a more structured and narratively satisfying experience than his award-winning predecessors.
Kearns' costume has long been a subject of debate. While he insists it's not a character but a tool to find his comic voice, the disguise creates a distancing effect. In interviews, he has described the wig and teeth as enabling him to hide himself to reveal himself. On stage, he acknowledges the uncertainty his appearance generates, telling the audience, 'You don't know what's true up here. I like that.'
The show is triggered by a visit to the bookies where Kearns bets on a horse that wins dramatically but then dies. This leads to wistful reflections on life, as he visits a local café, cashes in a massage voucher, and dreams of a sweet shop. The performance oscillates between wonderment at mundane items and melancholy, culminating in a friend's emigration and wedding that casts his joy into eclipse. In the final section, Kearns removes his wig with solemnity, hinting at a more candid, less 'in character' moment.
Critics have noted that the mask both enables and frustrates. The Times' Dominic Maxwell argues that the disguise prevents full emotional engagement, questioning how one can take a 'bittersweet meditation on life' seriously when the performer won't step out from behind the shabby headgear. While the show is enjoyable, the costume insulates the audience from the emotional impact Kearns might otherwise achieve. Yet, the act prompts reflection on where personality ends and persona begins, and why self-disclosure matters in comedy.
