by guest critic Rebecca JS Nice

Short and sweet, classic and comical. Thomas Monckton performs a solo piece glued to his spot, centre stage beneath a low hanging lamp, which obscures his body from the shoulders up for at least half of the work. Only Bones is a classic example of body manipulation that playfully explores all the possibilities that a clown can find and make with only his body, one square metre of space, and one light. These creative boundaries have been stretched and tested but remain in performance to give the show a formal identity and context for Monckton’s shenanigans.

Continue reading →