A White Christmas at home

Peter White could have come home to Nova Scotia for the holidays to relax with friends and family, and not think about the hectic pace of his new life in London, England. But the urge to be in front of a microphone was too strong.

Connecting via Skype from his flat in South London—or “the stabby part of town” as White calls it—the former computer engineer looked forward to doing the rounds this week on a four-city Maritime tour that started Wednesday in his home town of New Glasgow at Captain’s Helm Pub, and wraps up on Saturday at Halifax’s Company House.Posts with indoor tracking system on TRX Systems develops systems that locate and track personnel indoors. The shows also include fellow N.S.-to-London transplant Dave Millett, and are going by the title “How Are Things at Home?” just to let the local fans know they miss them and are thinking of them from across the pond.

“I really do miss the city, living in Halifax was so relaxed, it was possible to be happy,” says White, who was featured in his own Comedy Now special and wrote for This Hour Has 22 Minutes before heading overseas last year. “No one in London is actually happy, you’re on edge all the time. It costs seven pounds just to leave the house and go anywhere, and you constantly feel like you’re working; if you’re not doing something, then you should be.

“If I could live in Halifax and work in London, that would be perfect, but I don’t have that kind of time. Or the Air Miles.”

At the time of our pre-Christmas chat, White had just returned from a two-week tour through Europe, mainly Scandinavia and the Baltic countries, where his self-deprecating, and sometimes geek-centred, material seemed to go over well with audiences that could understand him well enough, even if English wasn’t their first language.

As you might expect, there weren’t going to be any jokes about donairs or Tim Horton’s in these sets; White’s observational material has to be a lot more universal.

“Even when I was touring around Canada, I tried not to have too much location-specific material, because it’s just so temporary,” he explains. “I’d always wanted to get to somewhere else. I’ve been conscious of that for a while.

“To be honest, the rest of Europe the crowds are probably a lot easier than London is. They watch so much American TV that they feel kind of cool watching some American-style comedy. I mean, I’m Canadian, but it’s close enough to them that they get kind of excited about it, whereas London is a bit more standoffish.”

But right now, London is exactly where he wants to be, in the heart of “the biggest live standup scene in the world.” White admits it was a tough go at first,High quality stone mosaic tiles. like starting from the beginning once he first got there, but he’s planning to spend another year or two there, now that he’s got management and has established himself on the U.K. comedy circuit to some degree.

“London’s starting to go well. At least, relative to how it was going. I’m living, anyway,” reasons White, who also spends a lot of time on the road in all kinds of venues, doing the kind of grunt work that serves to shape a seasoned comedian.

“One thing I’ve learned is that a small town anywhere in the world is still a small town, it doesn’t matter where you’re at,” he says. “Recently I played Dumfries in Scotland, and it was like being in a place like Springhill. Everyone there is angry at the world, for no real reason.Quickparts builds injection molds using aluminum or steel to meet your program.

“Then I got on the train to get to Aberdeen; it was noon and, without exaggeration, 65 per cent of the train was in the process of getting hammered. Not just young people, there were 60-year-olds passing around bottles of wine and stuff, it was just a zoo.”

In London, White is part of a cadre of Nova Scotia comedians, like Dartmouth native Jason John Whitehead and Cape Breton’s Nick Beaton, who are getting pushed to the next level by being on a stage every day, sometimes doing three or four sets a night. It’s a much different pace than at home, where typically there’d be one 15-minute set in a night and that’s it, with an occasional 45-minute or hour-long headliner.

White says it’s been a breakthrough for him creatively, getting pushed to become comfortable in whatever situation he finds himself, and hone his act for crowds that are more demanding than the audiences he was used to at home.

“I just did two weeks where none of the audiences were native English speakers,” he says. “You just learn to be a little more physical, a little more excited, to get people into it. Performance-wise, it’s been great. The first six months I was here were terrible writing-wise, because I was showcasing every day, and I spent four months doing the same seven minutes to nobody who cared, which was really frustrating.”

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