But far from showing the show, these movements offered a star room immediately, whether it threatens a member of the audience using the phone or trying to force the three members to separate its character. It made me want Tate to give herself many opportunities to improvise all the way, considering her obvious talent-something we could not see on television.
As a performer, Tate is an extraordinary, effortless variable from one to simulate and embrace not only a wide range of sounds, but physical transformations through her body language and mannerisms.
Praise should also go to manufacturing things which are probably waiting between listings to help quickly change its wigs with costumes and prosthetics occasionally.
The overall production is brilliant together, with a huge screen, animated behind the operations creating a bright, dynamic background for each sketch.
It is a pity, then, that writing from time to time does not meet the level of performances.
Some records fall apart on weak punch, ling or no punch at all, while others rely too much on the examples of characters. It's corny and sometimes feels dated (Gay gay jokes about Chinese names nowadays and at this age?) But, to be fair, it was also a problem with the original TV series. In this sense, this is a very live reproduction of the show.
As such, fans are expected to leave disappointed there, especially since the show ends with a strong one of Tate's most popular characters, Nan, in an extended sketch that throws in some theatrical surprises – as well as an amulet performance by another comedy legend.