I walked into the wonderful Wilton’s Music Hall – one of the loveliest venues in London, but in the middle of bloody nowhere – expecting to hate this show. Classical music mixed with slapstick, said the promotional material.
And how wrong I was. I loved every one of the 100 minutes of it (even though it was advertised as 75 minutes). Släpstick, an award-winning troupe known for their playful approach to music, have brought their acclaimed production from the Edinburgh Fringe to London.
In Schërzo, you are invited to witness what initially appears to be a dignified classical concert. However, this quickly devolves into a riotous mix of absurdity and humour. The five-member ensemble navigates through a series of sketches that blend classical masterpieces with unexpected comedic twists. From the silly symphony, where they play 25 classical melodies in 60 seconds, to a ventriloquism battle between a Nazified Beethoven shouting ‘Nein’ and a yodelling Schubert, the show is a whirlwind of musical talent and clownish antics. But don’t think of clowning – which is how the show is partly portrated in its promotional material – as being about men in big red wigs and painted faces bumping into each other and tooting horns. This is slick, choreographed adult clowning. The outfits are two or three piece suits, but with the stitching left in as if the tailor hasn’t quite done the final fitting. The makeup is slightly heavy eye shadow, but that’s it. The skill of these peformers is immense.
The cast’s ability to switch between instruments – over 200 in total – while maintaining impeccable comedic timing is impressive. Some of it is so fast, the eye can’t follow. Was that an oboe? A bassoon? A clarinet? It’s switched so fast, you’re left listening and gazing in awe. The troupe’s dynamic energy is great and they embody characters that range from bumbling fools to sophisticated musicians with ease.
A particular highlight is the tap-dancing segment where performers footwear ranging from tap-shoes, to clogs, to skis; merging physical comedy with musicality in a way that leaves you roaring with laughter. The chemistry among the actors enhances the performance, creating moments that feel spontaneous and genuine. Another highlight is the scene where the five performers play seven instruments between them, but using their limbs to play each others instruments (one might hold a violin against his neck; another moves the bow; a third fingers the strings – but each performer is playing multiple instruments at the same time. It’s mind-boggling.)
The barbership scene involves the troupe singing in beautiful 1950s barbershop style, whilst cutting hair from increasingly absurd parts of each other’s bodies. If you’ve never seen five clowns playing the accordian while putting Gillette shaving foam on their faces, you haven’t lived. And the scene involving singing and playing Braham’s lullaby to a baby, with the most beautiful harmonies you’ll ever hear whilst working through increasingly grotesque and loud instruments – which are the very antithesis of helping the baby sleep – is hilarious.
Each segment flows smoothly into the next while maintaining a lively pace. Watching Släpstick: Schërzo is like being part of an exuberant celebration of music and laughter. The joy radiating from the stage is infectious. I absolutely loved it; I couldn’t stop smiling. I’ve never seen an audience so entranced. And having gone in thinking ‘This is going to be a bit meh’, I didn’t want it to end. I didn’t want to blink and miss a single second.