[Theatre and Physical Theatre/Clown ~ AUSTRALIAN PREMIERE ~ NZL]
The Studio at Holden Street Theatres, Fri 17 Feb, 2023.
Our society’s fascination with royals only seems to grow, despite knowing that they are redundant relics of bygone times. Their continued popularity is due to celebrity status, as well as all the money and privilege they inherit. They are also archetypes of our aspirations.
Thom Monckton takes the royal role to the extreme, to highlight our age of excess and entitlement. The king wields ultimate power, having anyone who invokes his displeasure executed on the spot. Even audience members are not exempt from his wrath, except when they are revived by a crocodile in the moat and manage to return to their seat – alright, you had to be there, as they say.
His servants are dispatched at an alarming rate, so it’s hardly any wonder that some are reluctant to appear when summonsed. The King remains alone on stage with his throne, miming his way towards some gifts. He needs all his acrobatic skills to reach them.
The trinkets turn out to be typical of what we in our consumer culture seek, yet all too soon tire of and discard. He gleefully resorts to giving himself presents without end, always taking. The only thing he gives is royal commands, and these can turn into comical rhythms, bringing the audience into the fun.
He takes aim at our alienation from nature by stretching it to the absurd level, where the king cannot step outside his carpeted cocoon. His body transforms like rubber into amazing shapes, contorting with incredible suppleness to avoid any contamination.
Words are not needed, only gibberish sounds, fanfares and drum-rolls. Sometimes it is not always clear what the motivation is for the king’s antics. Like all good clowns who follow their nose and take the next tangent wherever it leads, this now become the story’s journey. He returns and repeats the same path over again until a surprise resolution brings revelation.
When a wounded knight in full, shining armour appears, the tiny trivia to play with are doubled. While it seems like silliness and fun, together they point to the futility of armed conflict and the banality of life. We are left wondering if it is all just smoke and mirrors.
Rather than redemption the king remains true to character: on the take, not having relinquished his crown. We can conclude that pure playfulness is the core content, the sole purpose, without the need for a ‘result’ or reason. Or to paraphrase the bard, “Play is the thing wherein we catch the conscience of the king, the king of ta-king.”
NOTE: For extra fun, the King requests some wrapped gifts from his subjects (you). These can be any unwanted items and will be used as part of the show.
Presented by: Kallo Collective & A Mulled Whine
3 stars
David Cronin
The King Of Taking continues at The Studio at Holden Street Theatres, at various times, until Sun 5 Mar.
Book at FringeTIX or adelaidefringe.com.au. Click HERE to purchase your tickets.
#TheClothesline
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[Theatre and Physical Theatre/Clown ~ AUSTRALIAN PREMIERE ~ NZL] The Studio at Holden Street Theatres, Fri 17 Feb, 2023. Our society’s fascination with royals only seems to grow, despite knowing that they are redundant relics of bygone times. Their continued popularity is due to celebrity status, as well as all the money and privilege they inherit. They are also archetypes of our aspirations. Thom Monckton takes the royal role to the extreme, to highlight our age of excess and entitlement. The king wields ultimate power, having anyone who invokes his displeasure executed on the spot. Even audience members are not exempt from his wrath, except when they are revived by a crocodile in the moat and manage to return to their seat – alright, you had to be there, as they say. His servants are dispatched at an alarming rate, so it’s hardly any wonder that some are reluctant to appear when summonsed. The King remains alone on stage with his throne, miming his way towards some gifts. He needs all his acrobatic skills to reach them. The trinkets turn out to be typical of what we in our consumer culture seek, yet all too soon tire of and discard. He gleefully resorts to giving himself presents without end, always taking. The only thing he gives is royal commands, and these can turn into comical rhythms, bringing the audience into the fun. He takes aim at our alienation from nature by stretching it to the absurd level, where the king cannot step outside his carpeted cocoon. His body transforms like rubber into amazing shapes, contorting with incredible suppleness to avoid any contamination. Words are not needed, only gibberish sounds, fanfares and drum-rolls. Sometimes it is not always clear what the motivation is for the king’s antics. Like all good clowns who follow their nose and take the next tangent wherever it leads, this now become the story’s journey. He returns and repeats the same path over again until a surprise resolution brings revelation. When a wounded knight in full, shining armour appears, the tiny trivia to play with are doubled. While it seems like silliness and fun, together they point to the futility of armed conflict and the banality of life. We are left wondering if it is all just smoke and mirrors. Rather than redemption the king remains true to character: on the take, not having relinquished his crown. We can conclude that pure playfulness is the core content, the sole purpose, without the need for a ‘result’ or reason. Or to paraphrase the bard, “Play is the thing wherein we catch the conscience of the king, the king of ta-king.” NOTE: For extra fun, the King requests some wrapped gifts from his subjects (you). These can be any unwanted items and will be used as part of the show. Presented by: Kallo Collective & A Mulled Whine 3 stars David Cronin The King Of Taking continues at The Studio at Holden Street Theatres, at various times, until Sun…
The King Of Taking: The Age Of Excess And Entitlement ~ Adelaide Fringe 2023 Review
The King Of Taking: The Age Of Excess And Entitlement ~ Adelaide Fringe 2023 Review
2023-02-18
David Cronin
David Cronin
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