With a title like Delightfool, this reviewer speculated whether this Auckland Fringe offering would riff on the famous-for-centuries A Midsummer Night’s Dream, or be light-hearted cabaret-style jesting, relying on witty songs and clever footwork to entertain. Both choices would be in keeping with the entertainment offered by the Fringe, now in its 34th year.  

What began in Wellington in 1990 as a small iteration of Edinburgh’s famous Fringe, has birthed some of Aotearoa’s top talents – Gareth Farr’s Strike Percussion had its debut there, as did Flight of the Conchords, who captured America with barely a lift of Jemaine’s singular eyebrows.  

So, anticipation was high as my Companion and I trudged up Auckland’s Basement Theatre’s steep stairs to its Studio (formerly the Loft) for the opening night of Delightfool’s five-night season. Anticipation was well-rewarded, for this two-hander contains star talent.

The performers are Booth the Clown (they/them) and Jak Darling (surely a pseudonym, also they/them). In keeping with today’s multi-gender awareness, there are moustaches on both faces, skirts flashing, and athletic shorts much in evidence.

The exuberant show, complete with many sound effects courtesy of Liam, is not really cabaret, and not wholly theatre. It is deeply entertaining, however, from the moment where Booth the Clown declares it to be both gender-fluid and gender solid, and therefore “grammatically correct”. 

A bit of chit-chat about their relationship decides it is “like Hallensteins”, which provokes a roar of laughter from the packed audience.

Jak Darling, in this reviewer’s opinion, is an ornamental butterfly whose lithe frame offers the perfect shape for showing off a variety of evening gowns to good effect. A pale green floor length A-line is deliciously completed by a white rabbit fur shoulder-wrap; a scarlet knee-length body hugger slips discreetly away to show an enticing slice of glossy back. My Companion, no novice to either fashion or theatre, agreed that Jak’s fashion chic was not matched by their rather teenage humour, which relies heavily on body-waste references and subterranean desires like golden showers.  

Booth the Clown, however, has a more mature understanding of performance material and delivery.  Their shower-scene skit brilliantly combines uncertainty and erotica. Another skit involving water enacts a drowning with utter conviction. And Booth the Clown is funny – even when silent. While Jak models yet another lovely gown, Booth the Clown zooms onto the scene, dressed all in white, as a storm, complete with raincloud on their head, bustling about and raining on any passing parade.

A warm, poignant moment is displayed in silhouette, when the two sit behind a white sheet facing each other. “What if this is not enough?” one queries, and if it is not, “when are we going to be enough?” But laughter quickly resumes. “Doesn’t matter – you made me delightfool!”

Delightfool plays at the Basement Theatre until 7 September; this reviewer heartily recommends it, if only to catch Booth the Clown, an Aotearoan star, on the rise.

The original review has been updated at the request of the cast and friends. Updates by Lexie Matheson, approved by reviewer Sandi Hall.’

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The packed and noisy crowd at the Fringe Bar is an early testament to tonight’s pair of performers in Delightfool. The fools are Jak Darling and Booth the Clown, and they barge their way through to the stage with a raucously suggestive energy that is catchy, by the way – you’re likely to stay awake most of the night after this contact.

Energy is the main ingredient of this show – Darling and Booth have it in spades. It’s top-notch cabaret complete with scintillating song, dance and costume changes – and it’s naughty. If you’re unashamed, it’s amazing how much naughtiness you can get away with. Darling ought to teach it.

A full-length orange gown on a gracefully slim body plus a moustache (Darling) and chappish black ’n white shirt ’n shorts (Booth) give us a Charleston for openers. We’re divided into Booby Babes and Dashing Darlings before the pair enlighten us as to their gender fluidity and that being referred to as ‘they’ is just fine. But they’re single and avowedly not looking for a relationship. That said, if anyone out there is also not looking for a relationship …

That’s the preface to an hour of wit, sparkle and innuendo that would be hard to beat anywhere. Booth the Clown takes a shower and their inventive use of the shower head is, well, inventive. That number is rivalled by Darling, in full length blue gown now, plus ukelele, teasing with a provocatively ambiguous song, each ribald rhyme rivalled by a resonating strum.  

The two continue to take turns onstage though are interrupted by occasional loudspeaker announcements of a coming storm. That theme introduces Booth in a nautical number, in which staying afloat involves mime skills that could put us all at sea.

There isn’t exactly a denouement, unless you’d count a few moments at the end of vulnerability and self-doubt expressed by our fools. It’s an unexpectedly human touch to conclude such a brazen show of self-confidence. Two sides to every coin to quote an old cliché. Although it’s difficult to imagine these entertainers as anything but the bold pair we’ve so enjoyed, it’s nice to know they may be – somewhere – just like the rest of us.

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