Nothing is normal in Ben Moor's latest monologue; all the audience can hope to do is to keep up as he goes further and further off the wall. (The) structure allows his genius to flourish - he can, and does, do anything. Strongly rooted in the peculiarly British tradition of verbal surrealism, Moor is constantly inventive, with gags that range from the inspired to the exquisitely contrived. The show is not only deeply funny, but also oddly eloquent, in his own words: "A mixture of the wonderful and the insane."

Richard Turner, The Scotsman, 12th August 1998

Moor, a three-way cross between Lewis Carroll, Magnus Pyke and Rowan Atkinson plays for laughs, but there is a slightly more serious and quintessentially English side to what he does. He is never less than captivating. Twelve's denouement is faintly nonsensical, but the show ends with the audience feeling they have been taken on a wonderful journey of discovery. It is quite a ride, showing new depths to this increasingly angular performer.

Phil Gibby, The Stage

A trivial failure to communicate generates Ben Moor's gloriously bizarre solo comic narrative Twelve. Moor's lanky, gangling frame is combined with an intellect that square-dances through everyday occurrences, spewing forth images. Moor is the most determinedly surrealistic of the current crop of young comics.

Ian Shuttleworth, Financial Times

The impossibly gangly Ben Moor has a naturally hilarious body. his neck just carries all the way down.

Kate Bassett, The Times

(Ben Moor's) act is rare in coming complete with a plot. But it is the word play that delights. He deserved a Perrier nomination.

Antony Thorncroft, Financial Times

(The plot) is an excuse to string together a beautiful collection of disparate bizarre observations. No cliche is safe; puns are taken pitilessly to their logical extreme. (The resolution) is packed with far more pathos than any thriller / sci-fi oddball alternative and shows Moor in a surprisingly dramatic dimension. Moor's been bubbling under for years. It's time he surfaced as the comic genius he is.

Gabe Stewart, The List

He had Jenny Eclair collapsed in the front row, teeth tottering, wig askew. What Ben Moor's surreal brand of train of thought spotting can do for her, he can do for you.

Hit List, The List

Ben Moor is a gangly mad professor type... he is a cult rather than a star. Weird but good.

Andrew Martin, Hot Tickets, 3rd July 1997

Ben Moor's suavely accomplished Twelve... blends Hitchcock suspense with myriad off kilter concepts... to create a supernatural monologue worthy of the early 20th century satirist Saki. High, if obscure, praise.

Ian Watson, Melody Maker, 14th September 1996

Ben Moor's one man play, Twelve... was brilliant, sporting more jokes and wittylines in a single hour than a whole series of Red Dwarf.

Ian Sorenson, SFX Magazine

Lanky oddball Ben Moor impressed everyone at Edinburgh last year with his hit show Twelve, a strange mix of stand-up and surreal story telling. Expect lots of entertaining nonsense.

Tim Lusher, Evening Standard, 8th July 1997

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