Fabio Motta’s Holy Fool takes that unlikely saint and turns his story into a clown show that is as interested in questioning Francis as celebrating him. Developed between Melbourne and Padua, Italy, the solo work places a naïve knight-turned-hermit in a world where devotion, absurdity and the very idea of holiness happily collide.
Motta is a charismatic and charming performer, with an innocence and cheekiness that makes it easy to get on board with his eccentric world. His improvisation with the audience is particularly good. There is something lovely about watching him respond to unexpected offers, taking them in his stride with a positive attitude. Audience participation is part of the show, but it is gentle and encouraged rather than forced, making it more like an invitation than an obligation.
Although this is a solo performance, Motta populates it with a surprisingly broad cast, from religious figures to ordinary citizens. His impression of God is perfectly presented, while his ease with different voices, physicalities and emotional states gives the performance a richness well beyond its one-man format. He is an accomplished clown, with the openness and willingness to look foolish that the form demands. He commits fully to each situation, using his face, body and voice to tell this 90-minute story.
Jack Burmeister’s sound design is equally well considered, helping transport us between various locations, from ferocious battle scenes to the dank cellar where Francis is imprisoned. It also works as an emotional counterpoint, responding to Francis’s hopes and growing commitment to the ideals he is trying to spread.
Em Jevons’ set design is deliberately simple, with hessian drapes hanging across the back of the stage and matching Francis’s costume. It is appropriate for a character who has rejected wealth in favour of a more modest existence, with the pared-back design reflecting his appreciation for the ordinary.
Max Woods’ lighting design further expands the production, especially during sequences that demand a greater sense of action or scale. The shadows and silhouettes of Francis cast across the hessian backdrop heighten the drama and give the set stronger visual impact. The lighting stands out most when Francis is imprisoned, transforming the space into something dark and oppressive and creating a striking contrast with the more playful sections.
Giovanni Fusetti’s direction gives Holy Fool a quality of spontaneity, allowing Motta to move freely between physical comedy, character and storytelling without losing sight of Francis’s journey. There is a confidence in the way it moves between the ridiculous and the serious, never allowing either to overwhelm the other.
Motta also uses Francis to bring the past firmly into the present, asking us to consider the choices we make and what we value in a world increasingly shaped by fear, conflict and uncertainty. It is a sobering turn, made all the more effective by how seamlessly it emerges from the laughter and antics on stage. Rather than being a lesson bolted onto the story, it grows naturally from Francis’s own reflection on how we should live.
While Holy Fool doesn't ask us to take Francis too seriously, it takes his ideas seriously. Motta’s playful style makes an 800-year-old story accessible without compromising its more difficult questions. Beneath the comedy and absurdity is a provocation to consider how we live, what we value and whether there might be another way to navigate a world that can often feel overwhelming. It is a funny, thoughtful and skilfully performed reminder that perhaps there is still something to learn from a man who decided he needed very little to live a meaningful life.
SHOW DETAILS
Venue: Theatre Works Explosive Factory, Rear Laneway, 67 Inkerman Street, St Kilda
Season: until 19 September | Tues - Sat 7:30pm
Duration: 90 minutes
Tickets: $38 Full | $30 Conc
Bookings: Theatre Works
Images credit: Darren Gill
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