1646 - Issue 1

How did you discover that you’re good at impressions? I don’t think I ever had a eureka moment; I’ve done impressions, accents and silly voices for as long as I can remember. Impressions are less the sort of thing one discovers one can do, and more a slightly weird involuntary response to a world of different voices and sounds. Impressionism is more a condition than a choice. Who was your first impression? The first person I remember doing was Johnny Vegas when I was 13, right as my voice was breaking. Sadly I lost the ability to do him some six months later when the pitch of my voice dropped. How do you choose your subjects? The most fundamental consideration as an impressionist is: ‘Are my audience going to know who this is?’ There’s no point going into a long routine in a voice no-one recognises. As a stand-up impressionist in the UK there are essential names you need in your arsenal (Trump, Boris Johnson), but to go to the next level, you need to find voices people know but have never heard done before. My Louis Theroux is a good example of this; he’s very distinctive but I don’t know of another impressionist who does him. FEATURE STORY Making a Big Impression Old Blue comedian, impressionist and writer Josh Berry (2014) has had a cracking year: his own show on Union Jack Radio; a successful gig at the Edinburgh Fringe; and appearances on Dead Ringers , Tracey Ullman’s Show , Michael McIntyre’s Big Show , and more. But where does it all come from? Josh spoke to Marjie Thorne about his influences and career highlights. When it comes to visual aspects, it very much depends on the character. Some characters (Rafael Nadal) have very distinctive physical tics whilst many others (John McEnroe) don’t. Throwing in the physicality really does add a lot of comedy value to an impression, so finding someone with a weird stance or gesture is always a bonus. What’s the process in perfecting an impression? I just become obsessed with the people I’m trying to impersonate. I watch them on YouTube until I’ve fully ‘downloaded’ the person into my brain. I start by looking for distinctive vocal tics (a lisp, a weird way of pronouncing a particular word, go‑to phrases) then I normally develop a caricatured version of the impression. I’ll then either refine the impression and make it more accurate (for radio) or maybe keep it as a caricature if I’m performing on stage, because often they’re funnier than incredibly accurate impressions. 1 2