Review: Trygve Wakenshaw: Silly Little Things

Trygve Wakenshaw’s 2017’s Fringe success Trygve Versus A Baby was part of a wave of clown performances which challenged traditional British perceptions of the art, emphasising physical theatricality alongside the humour: in Silly Little Things, Wakenshaw combines classic mime routines, wry wit and slapstick antics in a series of charming episodes which build towards an ironic reflection both on his remarkable skills and the hidden depth of tiny interactions. Whether embodying an overblown magician, who tends to kill as often as entertain, or condensing an entire life into a routine, Wakenshaw is a superb storyteller who does not need words.

Wakenshaw’s charisma holds together what at first appears to be predictable mime dramaturgy. Extensive yet gentle audience participation gives place to an extraordinarily psychedelic weaving together of stories and locations, shifting from the stage to a plane, from a surgical theatre to a nightclub, each time inhabiting the pace and capturing perfectly formed vignettes through intricate yet fleeting details. While death often intrudes, Silly Little Things revels in absurdist humour, bridging the gap between the vulnerability of his clown persona and a more fulsome, exuberant parody. A showcase of Wakenshaw’s physical mastery, this production meanders without sacrificing focus and intent.