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  I remember the buzz around Johnny Vegas at the Edinburgh Festival Fringe in 1997. Everyone knew a star was being born – but a star of what, exactly? No one had ever seen anything quite like this overweight northern Englishman, screaming and sobbing at his audience, raging at life’s injustices – then breaking off for another bout at his potter’s wheel. Was this comedy, ceramics or a man on the verge of a breakdown? But the oddity – that defiance of categories – couldn’t sustain a career. A handful of years after becoming the first newcomer to be nominated for the Edinburgh comedy award, Vegas went mainstream as a man with a monkey sidekick in an ad campaign for the pay-TV service ITV Digital. People shouted “moonkeh” (Lancashire accent not optional) at him in the street. He became – and remains – a well-loved household name, albeit for a brand of (hoarse, boozy) comedy that partly obscures what made him extraordinary in the f

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