A masterwork of parallax,
At its heart, this is not a sketch show, but a hefty investigation into the power of marital union to divide.
The wedding’s an out-and-out disaster; we know that as soon as Patricia ‘Patty’ begins reading out her court order. Fractional viewpoints (six in total) reveal the personal tragedies of the ‘joyous’ day: creative catering, songs of heartbreak and bohemian landscaping are all in order. Between each sketch blare delightfully daft sonic fragments. The coprophobic struggles and mundane Radio DJ chatter accompany Thomas’ supersonic costume changes backstage.
How it comes together I do not know. The naturalistic tone, drunken stumbles and forgotten French tune help. The donning of ludicrous wigs and questionable cardies is snigger-worthy. The diligence with which Thomas played off an unwarrantedly motionless audience: admirable. Ditties, silence and asthma attack are employed as balanced movements of this accomplished comic’s symphony.
Macaroni on a Hotdog could be compared to a standout BBC TV series like White Heat, with its balanced encapsulation of multiple viewpoints. The one problem? It’s better. At its heart, this is not a sketch show, but a hefty investigation into the power of marital union to divide; into the uneven treatment of the naive (a sweet 17 year-old mother-to-be) and the seasoned bullies (her foolish, self-centred extended family). By the end, the inebriated ‘yoof’ bride becomes the voice of reason. Her priority is to revel in life’s simple pleasures - and what else are we here to do?
