Everyone knows the Penguin Classic books – English literature’s distinctive orange-covered fiction novels.
Garry Starr (Damien Warren-Smith) turns this recognition into a hilarious 55-minute adventure through the British publishing house’s catalogue. Classic Penguins explores these works, in a way that is “(mostly) naked. But with flippers”.
As the audience enters, Starr sits upstage with his back to the audience, calmly smoking a pipe. The show begins with an understated reveal as he slowly rotates in his chair, revealing his costume (or lack thereof). Sporting a formal swallow-tail coat, Renaissance-era neck ruff, fluorescent orange flippers and nothing else, he presents a caricature of a refined historical gentleman. The juxtaposition is immediately absurd and deeply entertaining. He quickly abandons the pretence to blitz through the Penguin catalogue at an astonishing pace.
Supported by Kayleigh Allan (production assistant), Starr deftly navigates through the many Penguin Classic titles on his bookshelf, placing each beneath a simple lamp and camera, connected to the large screen above the stage. This provides an anchor for each scene, and establishes a clear framework for the chaotic show. With the audience seated on three sides and little distance between himself and spectators, Starr exploits this intimacy throughout a medley of hilarious sketches.
Throughout the production the audience is hooked, constantly anticipating the charismatic performer’s next joke. Starr repeatedly subverts and defies expectations, with every set-up and punchline building into perfectly timed comedic relief. The degree of participation Starr demands of his audience is extraordinarily high, yet, the enthusiastic crowd unequivocally embraces this.
Classic Penguins also allows both Starr and his bold volunteers to participate in outrageously nonsensical activities. The volunteers almost seemed planted, but more likely, Starr’s personal charm and impeccable comedic wit are the common denominator. Those traits make even the most awkward and unassuming guests comfortable enough to, for example, continuously pelt him with fruit. Interactive moments were occasionally cringeworthy but ultimately enhanced the overall playfulness of the show.
In Carriageworks’ Bay 17, Starr’s larger-than-life persona successfully fills the space, a testament to his remarkable wit, skill and energy. Regardless of one’s familiarity with the source material, the jokes are inventive, layered and easily land for a broad range of audiences. Starr carefully balances cringe humour with physical comedy and wordplay, drawing on a novel’s title or notable aspects to drive the narrative forward. There is an authenticity to his performance, making him instantly likeable as he pushes the boundaries of socially acceptable behaviour. His nudity is not purely for initial shock value, but is fully capitalised, optimised and comprehensive, truly making this an unforgettable experience. Classic Penguins moves from strength to strength, ensuring a consistently hilarious and lighthearted evening.
Classic English literature often carries a reputation of being difficult, dull and dated, particularly at a time where fewer people read for pleasure. Classic Penguins is not an educational exercise that develops deeper understanding or appreciation of such literature, but it’s definitely far from difficult, dull or dated. Stories are made to entertain, and Garry Starr breathes so much joy and vitality into these classics that it almost makes one want to pick up a book.
