Only Bones V1.0 @ The Blue Room Theatre
Tuesday, February 12, 2019
Many Fringe-goers might read this year’s guide and think that a show listed under Dance and Physical Theatre with a title that ends with V1.0 will be a dull, self-indulgent wank-fest, but nothing could be further from the truth in the case of Only Bones V1.0. The pale, wirey, slightly odd-looking Thom Monckton captivates the audience as soon as he enters the 1 meter circular space in which he performs the entirety of his 45 minute show. Using only a chair, a lamp, three black and orange socks, nail polish and his amazingly expressive hands, feet and bendy body, Monkton weaves a spell that has people belly laughing and gasping in amazement.
It isn’t a one note show, it starts gently and serenely only revealing his hands bathed in an aqueous blue light that dances quietly and elegantly before us. It changes to being pee-yourself-laughing funny in other parts and has a visceral violence when he flings his head wildly from one side of his body to the other.
There was a palpable sense of childlike excitement that spread through the intimate setting of The Blue Room Theatre as he took us into his magical world. This is particularly so when he plays a mix-the-animal-sounds game with the audience with hysterical results. He uses his hands and feet to create hilarious soap-opera vignettes, moves his body and stretches his face like he’s fricken Gumby.
With Finland’s Kallo Collective behind him and ably supported by Gemma Tweedie’s sound effects it is clear to see why this has been a hit with critics and audiences from Edinburgh Fringe to a Mexico City Art Museum and festivals all around the world. Thom Monkton takes traditional clowning, and dare I say mime, to new heights and makes it relevant in the 21st century. This is a singular theatrical experience and an absolute must see for children of all ages. Seriously, don’t miss it!
ANNE PAVY
