I’ve been a fan of Raybon Kan ever since he slipped slyly into view in the early nineteen nineties, ushered in by Tom Scott’s words: “The bastard had me laughing out loud.” 

The laughs are if anything louder, judging by Raybon’s opening night at the Fringe Bar. It’s a packed house, and we hear plaintive calls about the microphone before he’s even onstage.

What is it about Raybon that gives him his edge? Is it because he’s Chinese? No. Is it because he’s now 50? No. Is it because he went to Wellington College? I don’t think so. The usual descriptors of ‘sassy’, bold’, ‘vulnerable’ – although he demonstrates all these – are somehow not enough. 

Perhaps it’s his air of permanent amusement – sometimes bemusement – that sets him apart. I get the impression he’s been vastly amused all his life. 

Whether he’s reporting from the intergenerational war, describing a hypnosis session by skype, or relating a trip to Thailand for dental purposes he’s better than hilarious. 

His promo piece in the Dompost mentions his feminism. I didn’t hear much on this from Raybon – which is just as well. He avoids the common comedian’s resort to sexual innuendo until right at the end. Then because it’s a linguistic take, I don’t take offence. 

He admits to being commitment phobe, and tells us why. 

You don’t need to commit to anyone or anything Raybon. Your vision will do just fine.   

Copyright © in the review belongs to the reviewer