Jimeoin
Observational standup powered almost entirely by the careful manipulation of his eyebrows.
4 specials · 1999–2002
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He strolls onto the stage looking completely at ease, but his primary instrument is his face. He takes the smallest possible premise—losing a train of thought, trying to act sober, walking past a stranger in the supermarket—and stretches it out. He does this by just contorting his expression. His eyebrows do half the heavy lifting. He rarely yells. Instead, he pauses, widens his eyes, and lets a subtle piece of physical mime sell a joke that wouldn’t read as a joke on paper. He lets the quiet moments sit.
Specials
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The World Comedy Tour: Melbourne 2002 with Dom Irrera, Al Murray & 13 more
An international lineup of working comics performing tight festival sets.
65 min
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Melbourne International Comedy Festival Gala 2001 with Chris Addison, Wil Anderson & 10 more
A rapid-fire 2001 charity showcase of Australian and international stand-up.
Network Ten
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Melbourne International Comedy Festival Gala 2000
A tight observational set from the 2000 Melbourne Oxfam fundraiser.
Network Ten
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Melbourne International Comedy Festival Gala 1999 with Rove McManus, Jeff Green & 20 more
A massive showcase of late-nineties comedians doing four minutes each.
Network Ten
On stage
He works constantly, anchoring festival galas and touring theaters across the globe. After relocating to Australia from Northern Ireland in the late eighties, Jimeoin became a permanent fixture of the country’s live circuit. He achieved this without ever adopting an edge. He is not trying to stretch the boundaries of the medium or unpack his own trauma. He is out there doing the fundamental work of making an audience laugh at the weird way a person stands.
His material avoids heavy subjects completely, yet it never feels like children’s entertainment. The humor comes from how closely he studies physical embarrassment. He will demonstrate exactly how a person’s posture shifts when they realize they are walking the wrong direction on a sidewalk, breaking the mistake down into distinct, uncomfortable stages. You do not leave his shows with a new perspective on society. You leave realizing that just trying to look normal in public is an inherently ridiculous effort.