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Miss London (aka London Hughes)
Winner of 2009's prestigious Funny Women Awards held at the Comedy Store. It's been a while since a female voice has taken the UK comedy scene by storm, but Miss London is about to change all of that having already amassed a huge following in celebrity circles and secured a loyal fan base around the UK, which grows bigger by the second.
The south Londoner began writing plays for talent shows at her college and was taken aback at the rapturous laughter and reception her material received. It was at this point that she realised her true calling in entertainment. When she moved back to London to study television, media and cultural studies at university, she was adamant that she would begin etching out a career in comedy.
When a friend asked her to perform a dance routine at her university's annual talent show, Miss London saw this as a prime opportunity to trial her one-man comedic skills in front of a captive audience, and asked her friend if it was possible for her to combine the two art forms within her set. Although, confused at such a request, her friend agreed to let Miss London try her hand at comedy on the premise that having her perform one of her famed dance routines was better than her doing nothing at all. She was an instant hit and landed her first paid gig the following weekend at the popular night, The Sunday Show.
Not only is London now gracing our screens daily as a presenter for CBBC, but she has filmed the comedy 'All Over The Place' (BBC), and was seen in the BBC3 one-off 'Laughtershock' as well as voicing the BBC animated series 'Big Babies'. Recently she completed filming the Silver River produced pilot 'Regulars' directed by John Hardwick, and appeared in the hit 'Stephen K. Amos Show' (BBC) as well as taking time to film 'The Plot' opposite Christopher Eccleston, Jo Brand and Miriam Margoyles for Blue Tiger Productions and BBC.
“'Single ladies MAKE SOME NOISE!' As feisty as they come, high-impact Miss London – the alter-ego of 20-year-old Dionne Hughes – bursts on to the stage with attitude so in-your-face you can't ignore it.
Her aggressive stance is such that she sneers at ugly boys who dare to talk to her on the dance floor and orders us to clap at routines she insists are worthy. Slipping in phrases from both African and Caribbean cultures, she demands that we enjoy her through sheer force of personality alone.
Closer analysis might reveal a lack of substance beneath all this front, but for a short set she injects such energy into the room that it's hard to resist.” Chortle