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Venue:48 Below, Under The Phoenix, 46 Broughton Street Edinburgh EH1 3SA
Phone: 0131 557 0234
Links: Click Here for venue details, Click here for map
Ticket Prices: Free  
Room: The Basement Bar
AUG 4-16, 18-28 at 13:15 (60 min)
Show Image

Alternative comedy lovers of the world, unite! Come witness the greatest acts, artists and performers from the Glorious People’s Republic of Mulhollandland. Forty-five minutes of new and increasingly odd stand-up, sketch and character comedy from the writer of one of Chortle’s ‘10 Weirdest Shows of the Fringe 2014’.

Work in progress.

‘Silly (in the best possible sense of the word)… a rousing rendition of Jerusalem.’
(The Chocolate Ocelot’s Pouch Blog)

‘The title may be the funniest thing.’

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News and Reviews for this Show

August 25, 2016  Edinburgh Festival Magazine
Review for Mulhollandland (Work In Progress)
How to review a WIP with just three people in the audience? It’s tough but brilliantly Mulholland treats you to a well-conceived and unique performance, always playing with the idea of the conditions the show is being presented in.

Once fully-formed Mulhollandland with almost certainly be a pick of next year’s Fringe, such is the standard of the surreal skits and creative comedic ideas. Set around a ‘Royal Variety Performance’ in a mythical communist state, conceptually it can be a real winner, and a grand vehicle for his talents.

Certain parts, like the mash-up of different types of hack comedian and comedy tropes are extremely neat, whilst surreal parts involving ghost cows and Bowie numbers are true quality.

A review of the expected future – the key thing to take from it is that Mulholland is one to watch for next year.

Words: Tom Crosby

Mulhollandland (Work in Progress), Laughing Horse @ 48 Below, Aug 21-28, 1:15pm Click Here

August 24, 2016  Edinburgh Fringe Review
Review for Mulhollandland (work in progress)
Patrick Mulholland’s solo show promises weirdness, and it delivers. The entire show is an exercise is surrealism, taking satire and social commentary to a whole new level of oddness.
The show is presented as the 'National Variety Performance of the Glorious People’s Republic of Mulhollandland', a totalitarian communist state. As an idea, it works, even if it is not hugely original.
The central character is a beleaguered policeman attempting to ensure the show runs smoothly, ideologically speaking, with the "help" of regular phone calls from a shadowy government figure. Mulholland plays an increasingly absurd cast of characters - the performers at the variety show - with an impressive collection of silly hats and even sillier accents.
‘Mulhollandland’ is advertised as a work in progress, and this is probably a good thing. The show could definitely be a lot more polished. Tech problems delay the start and seriously hamper the flow throughout (the projections are worth it in the end, but could also be used to greater effect). As this is a Free Fringe event in the basement of a pub, the audience are forgiving, the mood casual and good-humoured, and his technical woes even rather endear the comedian to the crowd. It doesn't make for a very slick show however, justifying the work in progress disclaimer. This is something easily resolved, which would take Mulholland’s performance to the next level.
Many of the sketches could be tightened up considerably. The ‘ghost cow’ piece, for example, is delightfully bizarre, but could easily be trimmed of some of its weaker lines. The final scene, in which the tone turned unexpectedly serious, also feels unnecessary. Political points are made much more effectively through satire and absurdist comedy throughout the show; there is no need to attempt to turn it into something more dramatic.
Mulholland is at his best with satirical socially-conscious material, which then veers off on surreal tangents. His opening montage of short critiques of British society (such as, ‘The Playground Banter of Eton’) is hilarious. Other highlights include ‘Sesame Street Tory Majority,’ the Angry Irish Man, a dramatic adaptation of ‘Mein Kampf’ and a train of thought which ended in a rendition of ‘Jerusalem’ to the tune of ‘Octopus’s Garden.’
Mulholland is likeable and self-deprecating, punctuating his show with wry meta-comments (‘this bit is the weakest bit’ or ‘it’s the same joke as before’) which add to the general enjoyment of the audience. ‘Mulhollandland’ feels like a trial and error process preparatory to a great final show. Definitely worth a look, it will only improve with time. Click Here

August 21, 2016  Young Perspective
Review for Mulhollandland (work in progress)
Where/when: 48 Below, 1.15pm every day (not the 17th)

Walking twenty minutes out of the centre of town for a free fringe work-in-progress may not inspire the greatest confidence in the show, but when you see the fantastic flyer for Pat Mulholland’s Mulhollandland, you may find it hard to resist.

Luckily, this show does not disappoint.

A heady mix of stand-up and theatre landing somewhere as a one-man sketch show, it takes the form of the national variety performance of a failing totalitarian state. The show starts off with some fantastic alternative comedy bits- the ghost of brisket past and Sesame street Tory majority- are then suffocated by the phonecalls of a mysterious, anonymous representative of the central government who forces more mainstream approaches. This leads to things like a stereotypical angry Irish comedian and a spy posing as a ventriloquist amongst other things. On the surface it is merely a cutting deconstruction of Communist values, but the subtext is of the continued selling out of the free fringe- original, alternative stuff being squeezed out by club comedy.

The original and alternative are certainly what this show falls under. Hilarious and fresh, most bits land big and if they don’t then there’ll be a new ‘act’ in a few seconds to make up for it. Consisting of big laughs and including political jabs, surrealism and whimsy, as well as an underlying message, it is essentially the perfect Fringe show.

That’s not to say there aren’t some issues, mostly of the technical variety. The show involves a lot of sound queues and a projector and several times the cue comes in either too early or refuses to play at all, but that may as much be a product of the venue than anything else, as well as being the work in progress. Taking up the mantle of writer, director, performer, stage hand and tech, you get the feeling the extra polish provided by being able to delegate some of the stage work, as well as the budget provided by a big venue would make the show something truly special, akin to a Sam Simmons show (something this show is very similar to).

Overall, however, it is an enjoyable and laugh-packed hour and exactly what the Free Fringe should be promoting in its premier venues, as opposed to a cellar on the outskirts of the festival. Click Here

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