EdFringe Review: Stuart McPherson: Crisps and a Lie Down

Stuart McPherson has a super way about him on stage. Laid back but energised, on the edge of dead-pan but with a surprisingly dynamic voice.

His 2025 set, ‘Crisps and a Lie Down’ finds him taking stock of life as a 30-something in a stable relationship, complete with dog, and often put off talk of children. Offseting the risk of mundanity, he interjects proceedings with sound effects – a gimmick which might sound trite, but which is timed to perfection. It always gets laugh, and it isn’t overused.

As to Stuart’s homelife, he recreates it in all its glory. His isn’t the first household to live in service to a canine, but he describes an eye-opening, and quite hilarious degree of dominion.

The dog, just like his and his partner’s acrimonious games of pool, and his musings on his own role as his father’s male heir, are distractions from ‘the talk’. Fortunately said distractions are good for a chuckle, whether its a clash between his rules-based philosophy and his girlfriend’s more liberal sensibilities, or the inevitable ‘sex talk’ with his dad when aged 14.

“As to Stuart’s homelife, he recreates it in all its glory. His isn’t the first household to live in service to a canine, but he describes an eye-opening, and quite hilarious degree of dominion.“

This is familiar, relatable stuff which makes regular references to ‘Wee Gimps’ (his preferred term for tweens) with the greatest of affection.

Now Stuart was kind and brave enough to let me into his show whilst it was still previewing. So kudos for dealing with a traitorous microphone, and for getting a preview audience of 20+ onside early – and keeping them with him. It’s not every comic who would handle both so confidently.

On the other hand his hour could use a little more structure here to allow his punchlines to gather momentum and build to better payoffs.

Because when he’s good, it’s great, not least when recalling unlikely run-ins with Noel Edminds, or during his train-travel based finale wherein previously listed virtues become a liability. In both he chains his schtick together delightfully making the most of his highly personable delivery, and inate sense of the absurd.

Elsewhere, whilst his tales of growing up, mum, dad, gran and more make pleasant listening and are worthy of a smile, they lack the momentum needed to pull them into into laugh-out-loud territory.

It’s not unentertaining, but it’s closer to cheeky tales told to mates down the pub rather than on stage. There is, of course, something to be said for manifesting such a comfortable chemistry with an audience.

Summing up, there’s nothing to dislike in Stuart McPherson’s Fringe showing for 2025. His confident, likeable blend of anecdote and observational comedy makes a funny and comfortable hour in the Cabaret Voltaire dungeon.