It is not surprising to read that Ennio Marchetto was born in Venice, Italy, the birthplace of Commedia Dell’arte and a country renowned in the art of mask-making. Most parts drag-esque cartoon cabaret, the show plays like a YouTube montage of craft costume magic and vignette caricature set to an array of contemporary and classical music. 

From the outset you can tell this man is both a dancer and a whirlwind impersonator, lithe and expressive. In the program he notes his influences as Disney cartoons, Pina Bausch and Venetian Carnivale, all of which are present in the show.  

The cut-out paper (yep, that’s right, PAPER) costumes, conjured and devised by Ennio and his collaborator Sosthen Hennekam, are thrilling to watch. Delicate, vibrant, surprising and whimsically cartoonish, the costumes are the real star of the show. The on-stage transformations between characters have a sense of childish wonder, and as an audience we hang on each character, marvelling as to what the next creation will morph into.

There is something exciting about watching lightning-fast costume changes. Ennio moves between impersonations via a fold, a ‘wig’, a rip, a flap, a reveal of a hidden puppet and, in one case, pieces of hidden cake torn from a dress. Some of these transformations need to be seen to be believed.

The simplicity of certain pieces – for example a moustache used to transform the Queen into a well-known rock star – belies a complicated and clearly workshopped process of devising. 

Mostly executed seamlessly, the delicate nature of the costumes and the trickiness of certain changes lend the show that element of danger. Although there must certainly be many malfunctions with such fragile material, generally the show loses nothing in such moments, and Ennio handles minor frustrations with grace and unfailing cabaret gusto.

I do not envy the costume team, managing a repertoire of what must be over 50 different paper characters (the number is not specified in the program so this can only be a guess, it could well be more!), and re-creating or re-preparing the costumes for each show. I am positive that gaffer tape must be a best friend! 

Being seated in the gallery is unfortunate, as the full effect of some of the work is dulled due to more visible mechanics, taking a little away from the magic of the costumes and performance. Ennio however manages to fill the large TSB Theatre with an excellent expressive face and physicality.

I do feel this show would be even more enjoyable in a cabaret style theatre, a little later in the evening with a few drinks to share over a table with friends. Some of the most enjoyable moments for me are small clownish moments, such as the armless Venus de Milo. 

I find myself wondering what Ennio could do without music, or by utilising some silent work in parts of the show to break up the onslaught of music and dance. At times a few of the numbers feel a little similar, or the costume alone doesn’t hold the audience, however the moments of clever change and caricature make up for it in spades. 

The audience claps, cheers and stomps their feet, a man behind me remarks “it’s very clever!” and the audience leaves satisfied and entertained.

The physical and practical demands of the show are quite remarkable; Adele, Celine Dion and Freddy Mercury are certainly highlights, although after writing that and looking at my notes I see I’ve scribbled down at least ten moments worthy of note. The costume wizardry is worth seeing alone; original and executed with passion and zeal it is fantastic to see entertainment which is clever, entertaining and visually joyful without being rude, crass or in-your-face. 

I liked it, it wasn’t what I had expected and cabaret is not generally my cup of tea. If you do enjoy cabaret, or just clever costume craft and larger than life cartoon, you will love it. Get a seat in the stalls, take friends, your folks, or even the kids.

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