Praise for Rudder:

***** “When Stephanie Laing dances, her face transforms and, through her, we the audience are transformed as well.  Heartfelt, powerful and very very funny.  This is a show you will be thinking about for years to come.” Neurodiverse Review

**** “Stephanie Laing could probably read the shipping forecast and make an amazing show, she’s got such warmth and confidence and presence.  It’s a delight to watch any person who’s really good a thing do that thing really well, and enjoy it.” One4Review

Bio:

Stephanie started performing in April 2007 on the Scottish comedy circuit. She quickly established herself as one of the most promising acts of her generation on the circuit, and in 2015 appeared as a finalist in the prestigious Leicester Mercury Comedian Of The Year competition.

Stephanie is best described as goofy and peculiar, and her comedy is partway between the needy oddness of Maria Bamford and the upbeat affability of Josie Long. Her material is a mix of silliness, filth and unusual observations, underpinned by a disarming honesty which makes her seem charmingly vulnerable.

Now a regular on the circuit Stephanie has also become a stalwart of comedy festivals across the country having appeared at Brighton Fringe, Leicester Comedy Festival, York Comedy Festival, Bath Comedy Festival, Women in Comedy Festival as well as appearing at the Edinburgh Fringe every year since 2010. Not content with just performing in the UK Stephanie has also appeared at UCB in New York & The Laugh Factory in L.A.

Most recently in 2018 Stephanie took her solo show ‘Mad About The Boy’ to the Melbourne, Adelaide & Perth comedy festivals.

Stephanie can currently be seen performing for the likes of  Laughterhouse, The Frog & Bucket, Komedia, Funhouse Comedy Clubs, Up The Creek, The Comedy Station.

Press Quotes:

‘Devastating technique, natural comic timing and delivery.’ Chortle
‘Truly commanded the crowd. Disgusting and delightful in equal measure.’ Three Weeks
‘Gloriously silly, wonderfully unpretentious and getting the audience on her side from the first line.’ Broadway Baby