Melbourne International Comedy Festival review by Steve Bennett

Imaginative, playful, almost wordless – Kraken is an hilarious hour of inspired physical comedy from rubber-limbed Trygve Wakenshaw.

His clown alter-ego is a naive, adolescent type, flirtatious without quite knowing how to flirt, skittish but sometimes pushing it a little too far. He teases and gently cajoles the audience, but with no shred of malice, he just wants us to play – and beams with a smug, but innocent grin whenever he gets us on board.

In his child-like interactions - and of course his near-wordlessness, Wakenshaw will inevitably invite comparisons with The Boy With Tape On His Face. But they are different creatures; but if Sam Wills’ gaffer-gobbed alter-ego paved the way for a renaissance in silent comedy into the mainstream, the superb Wakenshaw deserves to benefit.

Each scene in Kraken is born of inspired creativity. Who else could think of creating a Reggie Watts-style soundscape of loops and samples – but without any of the technology? He variously becomes a baby elephant, a William Tell-style archer, a man boxing with himself (and pulling no punches). It’s difficult to describe in too much detail the wide-ranging array of vignettes Wakenshaw paints without giving away their secrets, but they are universally enchanting, enticing and enriching.

Wakenshaw’s physicality is perfect, every movement just right. It is something he no doubt learned at the prestigious French clowning school of Philippe Gaulier, something of a hit factory for comedians, and you would hope he was top of the class.

Last year, Wakenshaw presented the absurdist theatrical piece Squidboy, but for all its make-believe and lack of narrative, Kraken is more grounded in the recognisable; the lack of words no barrier to him communicating exactly what is happening in all its perfect and amusingly recreated detail.

The result is a joyous hour of unpretentious silliness, and a sure highlight of the festival.

Review date: 5 Apr 2014
Reviewed by: Steve Bennett