It’s 20 years since English stand-up Mark Watson first performed at the Melbourne International Comedy Festival. The title of his retrospective show carries the same manic earnestness often seen in his on-stage persona. Fans will likely be pleased with the durability of the vintage material, and amused at 2026 Watson’s take on his old bits.
Newcomers should appreciate how Watson’s tales generate laughs from unexpected turns. The regularity of laughter, albeit from one of the comic’s smaller houses this MICF, showed that veteran-era Watson retains the charm that endeared him to local audiences.
For those wanting an overview of Watson’s work in Melbourne, 2018’s I’m Not Here was a memorable example of his ability to spin a tale, delivered in a conventional stand-up format. A somewhat thematically related follow-up was The Infinite Show (2019), employing a novel means of working punters’ quirks into a set.
The next in-person show (after COVID-19’s worst peaks), 2022’s This Can’t Be It, after a surprising opening manoeuvre, blended laughs with a little introspection. By the time of 2025’s Until It Overtakes Us, this had morphed into an effort to confront his technological anxieties. Across this range, Watson consistently showed an affinity for Melbourne, original thinking, and an unmatched ability to fold audience input into his act.
After fourteen MICF seasons over two decades, there’s a lot to look back on, and we’re not just talking about the jokes. After another different opening mode (which I won’t spoil) we saw video snippets of some long-past shows, starting with Watson’s 2006 offering – the only year in which he scored a MICF “Best Show” nomination. Watson commented that he was more hopeful back then, and refers to his current self, aged 46, as “haggard”.
The sequence could shift the audience onto a new wavelength, especially if you were sitting near the stage, and recall some of the personal struggles (lightly recapped here) Watson has shared over the years. Watson was in a faded “The Strokes” T-shirt, with a little hole near the neckline.
The dark indigo jeans were low, with a notable “Bonds” elastic band showing above. (Watson has visited so often that he even appreciates Australian underwear now?) It seems to signal the tension between being comfortable in what you are, and wanting to keep up with fashions. Few modern comedians can avoid the latter, and Watson’s noting of the house size suggested some concern about his current visibility.
A poll of the audience revealed a small number who had seen Watson’s first show, and a decent count of repeat visitors. Notably, there were lots of newcomers, suggesting that somehow youngsters are aware of Watson’s legacy.
Our performer was curious about a large group booking, revealed to be a work outing for a TV network. From this one detail, Watson showed his ability to think on his feet by demonstrating local knowledge (such as of MAFS) or inserting call-backs, whilst also doing some cheeky self-promotion.
So successful was Watson’s riffing that, against his expectations of this show for a smallish crowd, his retrospective was behind where he needed to be. As the laughs obtained from his various diversions proved, MICF rarely gives us the opportunity to see such a quick wit in action.
The prepared bits often related to technology, and how it has transformed our lives over the last 20 years. Some of these are time capsules, reminding punters (or educating the younger ones) of how communications used to be more primitive, which earned some loud laughs. Watson’s sceptical view of the advent of smartphones allowed some self-ribbing on his inability to be a futurist.
As we would often see across the hour, many punchlines still have their original bite. A story on having to follow a magician’s act escalated confidently towards its pleasing conclusion.
The technological and the personal combined in the modest amount of personal content. Marital discord was covered in the odd crisp story. It’s probably fortunate for Watson that he can neatly tie a bow around this time with his realisation that you can live in a house with someone who likes you.
Other recent-ish self-awareness resulted from an amusing bit on Right Said Fred’s I’m Too Sexy (1992) for a university audience too young for the reference. The segment shows how Watson can turn his embarrassment at not sharing an audience’s cultural frame into laughs for us.
Given how polished Watson’s craft is, it was unfortunate to see that certain Melbourne reviews have rated him the same as some desperately unfunny and amateur acts around. Whilst I’ve liked some of his shows more than others over the years, he’s always prepared and alive in the room. Even if a deal of his schtick is familiar, he always has something to surprise us.
The T-shirt may be faded, but the comic wearing it still has some shiny comedy baubles for us. Watson says he wants to keep doing stand-up for as long as he can. Even if he admits to feeling a little shabby, he’s still a reliable performer.
His persona, like his outfit, it’s not worse for wear, it’s well loved. Given the original flourishes he has brought us over many years, I am sure he will continue to do his absolute bloody best in the rest of MICF 2026, and beyond.
Mark Watson: 20 Years Of Doing My Absolute Bloody Best
Melbourne Town Hall (Supper Room), Swanston Street, Melbourne
Performance: Thursday 16 April 2026
Information: www.markwatsonthecomedian.com
Image: Mark Watson (supplied)
Review: Jason Whyte