Melbourne comedy festival review by Steve Bennett

The conceited, pretentious thespian is a mainstay of comedy. Now to join their ranks is Garry Starr, on a modest mission. ‘Theatre is dying,’ he proclaims. ‘And I am here to save it.’

His ruse is to perform every style of the performing arts in under an hour, from burlesque to Japanese mask theatre, in the hope his vast talent will inspire us to sample more.

For all the self-important arrogance, the man behind Starr’s Elizabethan ruff and too-tight leggings, Damien Warren-Smith, does actually possess the skills to pull off what he’s affectionately mocking. He impresses with the physicality, the control and the presence he brings to each parody.  So when he performs a spoof ballet routine, the poise and balance is all there… although that is definitely not the thing you’ll remember from his poses in the skimpiest of costumes. 

Pinter’s pauses form the basis of an audience interaction routine, designed to playfully trip up the volunteer at every stage; arty ‘European’ reimagining of the classics are stripped right back (Hedda Gabler becomes just two noises); and the slapstick session features as much silly mock-violence as you would hope. Shakespeare gets two parodies: a scene from Hamlet accelerated because life’s too short, and a recreation of the climax of Romeo And Juliet, that owes something to Peter Sellers’ classic Hard Days’ Night sketch.

This festival debut is a knowing show for those who already patronise the theatre, which means it runs the risk of being slightly in-jokey, and some of the gags on which the scenes are based can be a little obvious. But the execution and pacing is tight – no doubt helped by director Cal McCrystal, who has previously worked with The Boosh, Spymonkey and on the physical comedy delights of One Man, Two Guvnors.

Plus Gaullier-trained clown Warren-Smith is a compelling presence who can play with the audience, dazzle with his skills, and undercut it all by humiliating himself, all while maintaining the poker face his oh-so serious alter ego demands. The premise is that Starr has been kicked out of the Royal Shakespeare Company for his ‘unconventional’ approach. Their loss. 

Review date: 11 Apr 2018
Reviewed by: Steve Bennett
Reviewed at: Melbourne International Comedy Festival