The King of Taking.

Review by That Guy In The Foyer, John Doherty

★★★★

Presented by A Mulled Wine Productions and Kallo Collective.

The Studio,

Holden Street Theatres, Hindmarsh.

Feb 14 – March 5.

Not since Trygve Wakenshaw’s 2015 Fringe triumph “Nautilus,” and earlier 2012 sensation, “Squidboy,” have I seen a show combining mime, physical theatre, the “naïve clown” and clever use of Commedia style lazzi in way that kept a smile plastered on my earnest face for so long! 

The King of Taking is that show, and a brilliant vehicle for New Zealander Thom Monckton to strut some mime and clowning genius; and the show has depth!

The King of Taking is a great example of performance after the tradition of Jacques Le Coq, widely considered one of the greatest mimes of all time and a great social commentator.

It is no surprise then that Monckton trained at the École internationale de théâtre Jacques Lecoq. Nor is it surprising that Wakenshaw, his compatriot, trained at Ecole Philippe Gaulier, with alumni including Sasha Baron-Cohen and Emma Thompson, also in Paris- is there something in the water in Paris when it comes to performers adept at every aspect of the physicality of theatre!?!And I confess, I love this style of performance!

The King of Taking takes us on a journey with a petulant ruler. Accustomed to excess, courtiers who undertake the most menial or lethal tasks without question, and bestowed with gifts, - wrapped ones which ticket holders are encouraged to take to the show- a King finds himself out of his depth when protocols are not adhered to. Heralded by fanfares, excessive and numerous, The King makes an abortive entrance; he is a naïve, entitled, self -aggrandising nit! And it’s funny, very funny as he tangles with an unmanageable curtain. From the outset the credibility of his authority and status is beautifully undermined by the actions of invisible and mute courtiers, Jonathon, Katherine Edward, Abigail and Philip. The King, incapable of climbing to his throne, calls to Jonathon for assistance. Who knew there were so many nuances of intent and pace to plaintive, pathetic, undignified, pleading, demanding and frustrated calls to a servant? Monckton shows us at least thirty, probably more! And it’s hilarious!  Monckton’s ability to express the most subtle thought or intention through a minute hand gesture, the most inconspicuous raise of an eyebrow, or the tiny turn of a lip is matched by the hilarity of his bold, enormous gestures and wonderfully spontaneous responses to audience reaction. A skilled acrobat and juggler, too, Monckton makes a feast of The Kings reluctance to permit any part of him to touch anything but velvet carpet! And the Commedia del arte element of the lazzi is very effectively employed throughout the show, generally in the guise of exceptional and amusing mime.  

I did, however, find the appearance of Jonathon toward the end of this fifty-minute show– I don’t wish to give too much away – while initially funny, perplexing. The King is deliberately obtuse when faced with his arrow-stricken courtier and, while I understood the intention behind this plot device, couldn’t help but think it slightly superfluous. The King of Taking is thought provoking in the way only theatre with an Absurdist flavour can be! Thom Monckton is a very clever, adept artist, his show very, very funny! If you want to chuckle and grin like a kid again, while unwittingly being provoked to think, you should see The King of Taking!

Go! See it!