Review – Boorish Trumpson – at The Wardrobe Theatre Bristol

Boorish Trumpson is 70 minutes of riotous fun in which the orchestra – we’re the orchestra – is manipulated, played and performs to Trumpson’s tune.

Boorish is standing in as rehearsal conductor for Sir Simon Rattle, in the build up to Last Night of the Proms. He wields a baton like a rod of iron, though in a mercurial way which can see him fly into a fit of pique one moment or be filled with a beaming joy the next.

The timing of the show is exemplary, coming less than a week after a massive hoo-ha developed over the waving of the EU Flag at this year’s very event. There are references to Brexit during the performance.

Initially the stage feels a little bare during the incoming. There’s nothing except three chairs. But straight away it becomes obvious that any set would be surplus to Claire Parry’s ability to fill that space with her monstrous and brilliant creation.

Beaming at the audience, Parry has so much stage presence in this clowning piece, wringing every last possible second from each movement. It’s reminiscent of Tom Hulce’s conducting in Miloš Forman’s Amadeus, but it goes even further, with brilliantly choreographed movement to dramatic classical scores.

There’s a lot of audience participation in this show, relying on the good nature of everyone to make the piece work. As usual with the public, there is at times dissent amongst the ranks. However, this is also Bristol, where trying to convey a political message just won’t go like other cities. Annoy Bristol politically and you have a protest on the road by dinner time.

Because of the one vibraslap or random horn too many, it felt like the political undertones of the piece didn’t come across as much as the sheer beauty of the clowning performance. When instruments are removed from people and given to others, they were promptly passed back by the audience members. You literally can’t really control Bristol to do anything.

Parry is simply an incredible physical performer, keeping a soundtrack of audience laughs and chuckles throughout the entire performance.

As the audience laughs, it does rather seem to answer the ever puzzling question about how Boris Johnson became prime minster. The oafish clown characterised his time as mayor – later as Prime Minster – with laughable stunts and ridiculous behaviour, belying his bigoted and nasty opinions on race, poverty and women. An oafish clown with terrible behaviour but also managing to make people laugh at him and indulge him when they should not have.

There’s quieter moments bringing a well-timed rest from the high-energy pace. The three chairs represent traumatic incidents from Trumpson’s past, shining a light on how he became the person he is. One such incident sees Trumpson as a youngster entirely failing to nail the Qui tollis peccata mundi, Dona eis requiem during a childhood performance of Pie Jesu. The embarrassment adding to the foundations of extreme perfectionism and brick wall hiding a fear of failure.

This was a really entertaining piece and Claire Parry was brilliant. You can’t help but come away at the end feeling thoroughly entertained and proper job cheered.

Boorish Trumpson is at The Wardrobe Theatre in Bristol until 16 September 2023

For more information or to book: https://thewardrobetheatre.com/livetheatre/boorish-trumpson/

Claire Parry will also be running a workshop for clowning, music making and physical theatre on Saturday 16 September at 2pm: https://www.eventbrite.co.uk/e/the-fools-toolbox-with-claire-parry-tickets-698507413477?aff=oddtdtcreator

For Claire Parry: https://www.claireparry.co.uk/

Creative Team:
Co-director/dramaturg: Alex Prescot
Co-director/dramaturg: Lily Levinson
Movement/clowning: Lisa Berg
Sound Design: Fizz Margereson
Producer: Heather Ralph

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