In the heart of London’s theatre district, Soho Theatre continues to carve out space for comedy that defies convention – where punchlines meet conceptual art, and laughter becomes a language of identity, critique, and care. This past August, two stand-up performances—Julio Torres’ visually surreal Color Theories and Rohan Joshi’s introspective Getting There (But Not Quite) offered audiences more than comic relief. They invited us into worlds shaped by colour, culture, and contradiction. Both shows, reviewed by Abundant Art contributor Rim Alkaiat, reflect a broader trend: comedy as a space not just for laughs, but for layered storytelling, aesthetic experimentation, and cultural critique. As venues like Soho continue to platform diverse voices and hybrid formats, the question arises—has stand-up comedy found new relevance by breaking its own rules? In this feature, we reflect on how Soho’s programming and these two distinct voices signal a shift in contemporary stand-up: one that embraces multiplicity, aesthetic risk, and the art of laughing differently.
Julio Torres at Soho Theatre (11 – 16 August) brings comedy as Conceptual Art
Julio Torres is an award-winning Salvadoran-American comedian, writer, and director whose work defies easy categorisation. Known for his surrealist sensibility and visual storytelling, Torres has carved out a niche where comedy meets conceptual art and visual design. From his Emmy-nominated sketches on Saturday Night Live to his acclaimed HBO specials (My Favorite Shapes, Fantasmas) and feature film Problemista, Torres consistently transforms the mundane into the magical.
At Abundant Art, we’ve long been interested in artists who use humour as a tool for aesthetic inquiry and emotional resonance. Torres’ work speaks directly to that impulse—his performances feel like curated exhibitions, where abstraction and intimacy coexist.
In Color Theories, his one-night performance at Soho Theatre, Torres transformed the stage into a kind of dreamscape, inviting the audience to think in rainbow hues and symbols rather than setups and punchlines. As Rim Alkaiat writes – He has curated an experience – “his imagination and whimsy flow throughout” – which is what makes his show feel more than just a night of comedy. That sense of curation, Rim suggests, is what sets Torres apart: not just his dry delivery or awkward charm, but his ability to build strong images that evoke laughter through reflective resonance.
Rim also highlights Torres’ use of colour as narrative device: “Blue is law and order, red is anger and rage, yellow is childlike happiness.” These associations become the scaffolding for stories, like the airport being navy blue, as Torres recounts his experience of being detained for not having a travel visa. “His creativity and imagination beams in his comedy,” Rim observes, noting how Torres’ millennial delivery, subtle side-eyes and sarcastic expressions provoke laughter without relying on physical comedy.
In the context of Soho Theatre’s programming, Torres’ show reflects a curatorial openness. It is a reminder that comedy, like any art form, can be abstract, conceptual, and emotionally layered, and that audiences are ready to meet it there.
Rohan Joshi at Soho Theatre (2 -9 August) brings Comedy as Cultural Commentary
Rohan Joshi is one of India’s most recognisable comedic voices, known for blending observational humour with sharp cultural critique. A founding member of the trailblazing comedy collective All India Bakchod (AIB), Joshi helped redefine Indian comedy through viral sketches, satirical news shows, and live performances. His solo work, including the Amazon Prime special Wake and Bake, explores themes of identity, privilege, and generational angst with wit and vulnerability.
For Abundant Art, Joshi’s presence on a London stage is a moment worth noting, not just for its diasporic resonance, but for the way it expands the geography of stand-up. His work bridges cultural contexts while remaining rooted in personal experience, offering audiences a lens into the complexities of belonging, translation, and humour across borders.
In Getting There (But Not Quite), Joshi sets up what Rim Alkait calls “an enjoyable and cohesive show,” engaging the audience with cultural references and generational commentary. “Just as the audience is having a good time, so is he,” Rim writes, noting his magnetic enthusiasm and ability to command the stage.
Joshi’s reflections on reaching “uncle” status—where he can say and do whatever he wants—are delivered with playful sarcasm. Rim Alkaiat observes that his jokes about generational differences “work well in favour of both audiences,” even as some culturally specific punchlines may not land for everyone. “There were moments during the show when I felt slightly left out,” she writes, “especially when the crowd erupted in laughter at references I didn’t fully grasp.” Despite this, she affirms that Joshi “still does a great job at building a connection with the audience,” especially in his closing story about The Great Khali, which includes “an exclusive clip of the incident, making the show feel even more special.” Rim Alkait’s review points us to Joshi’s strength that lies in his ability to turn cultural specificity into shared experience. Rim notes that Joshi “doesn’t pander to the room, but he knows how to read it,” striking a balance between insider humour and universal themes.
The show’s title itself Getting There (But Not Quite) feels emblematic of a broader generational mood: one of striving, stalling, and self-deprecating reflection.
Stand-Up’s New Directions
Taken together, Color Theories and Getting There (But Not Quite) reveal just how elastic stand-up comedy has become. Julio Torres and Rohan Joshi couldn’t be more different in style but both challenge the idea that comedy must conform to a fixed rhythm or tone.
As Rim Alkaiat reflects, “The show is consistent, and though it sticks to one topic, you are never bored – in fact, you want to hear more.” That sense of engagement, whether through Torres’ visual metaphors or Joshi’s cultural storytelling, speaks to a broader shift in comedy: one that values honesty and emotional texture over universal punchlines.
Today, comedy as an artform is exploring new directions. Across London and globally, comedians are blending stand-up with storytelling, theatre, and even visual art. The rise of hybrid shows, live podcast recordings, and streaming specials has expanded the genre’s reach and reshaped its aesthetic.
Digital platforms like TikTok and YouTube have become launching pads for emerging talent, bypassing gatekeepers and redefining what it means to “make it” in comedy. Meanwhile, venues like Soho Theatre are responding to this shift by curating lineups that embrace experimentation and diversity, not just in performer demographics, but in form and tone.
As Rim Alkaiat’s reviews of Color Theories and Getting There (But Not Quite) suggest and in light of the broader perspectives our writers have brought to previous comedy reviews at Soho Theatre, we can safely say that Soho isn’t merely hosting comedy; it’s actively reframing it as serious art. These shows weren’t just funny; they were reflective, inventive, and culturally resonant. In spotlighting performers like Torres and Joshi, Soho positions itself at the forefront of a movement that treats comedy as a space for critique, care, and creative risk. And as Rim’s observations remind us, audiences are ready for that shift. They’re not just laughing – they’re listening, interpreting, and engaging with comedy as a form of artful inquiry.
In an age, where comedy also, is often expected to be fast, viral, and universally palatable, Colour Theories and Getting There (But Not Quite) remind us that stand-up can still be slow, strange, and specific. These performances distinct in style but united in spirit, offer a glimpse into comedy’s evolving role: not just to entertain, but to provoke, to connect, and to complicate. As Soho Theatre continues to platform voices that challenge the genre’s limits, and as reviewers like Rim Alkaiat help us see what’s at stake, we are reminded that laughter, too, can be a form of listening.
Reviews by Rim Alkaiat
Feature by Protima Chatterjee
Featured Images: Julio Torres credit (c) Joe Caster, Rohan Joshi credit (c) Nikhil Gupta
Visit Soho Theatre for their upcoming shows.
