The first half, Snowflake, will be heavily rewritten in the light of the two years the show has been laid off, looking at how the Covid-Brexit era has impacted on the culture war between lovely snowflakes and horrible people.
The second half, Tornado, questions Stew’s position in the comedy marketplace after Netflix mistakenly listed his show as “reports of sharks falling from the skies are on the rise again. Nobody on the Eastern Seaboard is safe.”
If I could bring one extinct thing back to life it would be Stewart Lee’s sense of humour.- Frankie Boyle, BBC2
There’s no-one else to touch him- Mark Wareham, Mail On Sunday
Lee remains one of the best stand-ups in the country- Metro
The world’s best living stand-up comedian- Dominic Maxwell, The Times
He makes stand-up almost a moral pursuit, … that makes the usual (and more popular) stand-ups seem crude and obvious.- Alan Bennet, London Review Of Books
Proper, vicious prejudice - a self-proclaimed inhabitant of the moral high ground- Sarah Vine, Daily Mail
A pot-bellied Bernard Manning for snowflakes- Tony Parsons, The Sun
The opposite of what really good comedy should be- Toby Young, Radio 4
The Bristol Hippodrome, the city’s very own West End theatre, opened its doors on 16 December 1912 when the curtain rose for the first time on what was generally agreed to be Oswald Stoll’s most magnificent provincial theatre.
It is a superb example of the grand architecture of the late Victorian era and is one of the masterpieces of design by Frank Matcham, the most eminent theatre architect of his time.
Towards the beginning of the century, the theatre staged a variety of acts as a Music Hall. Since then, and due to the fact that it has one of the largest theatre stages in Britain, The Bristol Hippodrome has established itself on the touring circuit for all major musical productions, thus becoming known as Bristol’s West End Theatre.