Review of ‘Garry Starr: Classic Penguins”: “Over-baring parody strips humour down to monotonous slapstick”

Following its initial success in the fringe scene, the show lands in the West End for the festive season ahead of a new tour and subsequent run at the Garrick Theatre. Guillermo Nazara tells the naked truth about the show to let us know if its humorous take on literature will make audiences wear nothing but a smile.

I’m not gonna say I didn’t care for a man wagging his attributes right in my face. I’m not gonna say that’s something I’d be reluctant to experience again — referring to the act itself. As for the idea of watching a naked comedian waving his baton in front of a seduced audience thirsty for more, with occasional glimpses of his rear entrance, I believe that’s a passage I don’t need to explore again.

I’m obviously talking about literature. That’s all we’re here for. An assortment of Penguin’s Books classical compendium, presented through a melange of wordplay and physical comedy — much physical indeed.

A revolving chair spins around to reveal a posh English gentleman with an Australian accent. He has everything you would expect in a man of his position: a top hat, a multilayered ruffled collar, and a pair of fuming balls — literally.

I confess I was stunned by the magnitude of it. It genuinely was a remarkable watch, which kept coming over and over again. I’m referring to the viewers’ reaction, just for the record. Maybe it was its voyeurist appeal or perhaps the simplicity of its humour, but you’ve got to give it to the guy — they were roaring from start to finish. And although my laughter may have not been as prominent as with other recent and far more effective comedies, I must admit I was amused. That is, of course, if we overlook its not-so-ignorable flaws.

It’s a repetitive act. Funny enough and overall entertaining, but repetitive nonetheless. The shock factor is present but not as continuous as it should. Most numbers have gripping qualities — if he doesn’t throw himself into the crowd to be carried to the back of the auditorium he will ask for a volunteer to bare it all onstage. Those turns are surprising and manage to create some buildup and tension. We don’t know what’s going to happen next. What we do know is that anything could happen.

Yet, the sense of formula and redundancy permeates almost instantly. It’s not a boring show but it isn’t the epitome of drollery either. In the end, the piece relies heavily on audience interaction — to the extent that half of its success belongs to them. It’s a key component of the show’s essence, but as much as it contributes to the strength of the performance, it also underpins the weakness of the material. It depends too much on what others are prepared to do. And although Garry Starr exhibits adequate improvisational skills, the elements of sharpness and variety are noticeably missing.

You can enjoy a show without feeling the need to see it twice. Yet, the reason not to come again is, however, relevant. Although Classic Penguins brims with uncomplicated, feel-good energy, the sense of elaborateness is somehow missing — perhaps not entirely but not fully discernible either. The alleged commercial success of its upcoming tour proves there’s a niche that might regard it as a beak-on of light and hope. As for me, the bulb kept flickering throughout the rendition. It might sound like sacrilege to this most devoted fans. What can I say? Just like Starr, I’m as cheeky as I’m cocky.

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All pictures credit to Matt Crockett.

Garry Starr: Classic Penguins plays at London’s Art Theatre until 14 December. Tickets are available on the following link.

By Guillermo Nazara