Review: JANINE HAROUNI: THIS IS WHAT YOU WAITED FOR, Soho Theatre

“This show got really weird really quick” 

Directed by Jon Brittain, Janine Harouni: This Is What You Waited For has had Harouni travelling around the world, landing in London with her longest stint at Soho Theatre. After a bit of an awkward start, with a stubborn floodlight refusing to turn off, Harouni gets the audience up-to-date with her life. She’s reached a point in her life where she has a strong social media following, leading to some interesting partnership proposals. She is also invited to different events, including a festival in Belgium that leads to a hilariously awkward moment. 

But This Is What You Waited For isn’t about Harouni’s fame - it’s quite literally closer to home, with the comedian discussing what life has been like at home with her husband and her child. This begins with some talk about the concept of having kids, with Harouni claiming it’s a pyramid scheme that grandparents rule over. There is also some talk about C-sections, with Harouni hilariously clapping back at those who compare the procedure to using a car’s sunroof. Sure, that’s a good comparison, but only if you consider the car doesn’t have a sunroof to begin with. 

There are plenty of funny stories to be shared about Harouni’s Irish husband, Andrew, whom she describes as “a little nerd,” reminiscing on the time that the two of them went to see The Batman, Harouni only going because she was actually in the film! A particularly great moment comes when Harouni borrows the glasses of an audience member to imitate her husband and depict a moment that happened when the two were walking through a park and a woman with large breasts walked by. Yes, Harouni confirms, her husband is definitely a “boobs man.”

The audience is also introduced to Harouni’s parents - her seventy-year-old mother from Brooklyn who gets monthly spray tans and her similarly-aged Lebanese father with Raynaud’s disease who wears black Latex gloves. This leads to some debates from Harouni on her style of parenting versus those of the older generation, with people her age using a more “gentle parenting” approach. When it comes to raising her child, Miles, Harouni has had support from her parents, though it may not always be welcome.

The conflict of the show comes from Harouni’s relationship with her mother - something pretty much every mother and daughter can relate to. When the two are left alone in the same home for two months, the house becomes a bit of a boxing ring, mother versus daughter fighting all the time with no buffers of husbands. This leads to some of the darker moments of the show, with Harouni questioning her choice of working while still raising her child. But that’s not to say it’s all doom and gloom. There are plenty of jokes to be made about the baby, with Harouni and her husband agreeing, “It’s me and you against the baby,” as it’s a British boy versus American and Irish parents. 

It is always a joy to see a fellow American on stage, as there is some homesickness for this particular critic when it comes to the cramped comedy clubs of New York. Harouni does a good job while working with a bit of a difficult crowd who fail to respond to many of the jokes, leaving her to recover and move on, which she does with no trouble. Just don’t expect too much crowdwork - to quote Harouni herself, “People tell me I’m not good at crowdwork, and that’s why I have notes!”

A highlight of the show is when Harouni lets her guard down and reveals a memory to the audience that she claims she doesn’t usually tell (there is always suspicion when a comedian tells this to a crowd). Without spoiling the story, Harouni’s confession has audience members gasping and groaning from shock and second-hand embarrassment. Who knew flirting with a fireman could lead to so much trouble? Well, as Harouni says, “The Lord giveth and the Lord taketh away.”

Ultimately, Janine Harouni: This Is What You Waited For is a slick hour of comedy that allows the American to show off her skills. Harouni has a true talent for turning her life into a story meant for stand-up, which is clearly illustrated in this performance about domesticity and raising a child - even if he is a coloniser!