There is good energy in the performance, and Booth’s clownish presence gives the show a playful quality. A particularly lovely addition is Sampson the Sheep, whose instability on their feet brings an appealing warmth to the proceedings. The audience interactions provide a more engaging dynamic, with Booth regularly bringing spectators into the action rather than simply performing at them.
However, its featured audience game is essentially repeated and extended instead of being developed. Once it has been played through the first time, it quickly loses some of its charm, making the middle section stretch out without any escalation. The forty-minute running time begins to feel less like a brisk choice than an indication that there may not be enough here to sustain the setup.
The ending attempts to broaden the show’s themes, commenting on how people with too much power can make life miserable for everyone else. It even brings up the murder of UnitedHealthcare CEO Brian Thompson by Luigi Mangione, but the connection is tenuous. We have barely seen the King of Kisses do anything that warrants such a comparison, so the political reference arrives without enough groundwork and is disconnected from the rest of the performance.
At around forty minutes, Kissing Booth is a lively but slight piece of clowning with its strongest moments come from Booth’s commitment to the character. But the repetitive game, limited range of ideas and underdeveloped ending make it seem like a promising concept that never quite reaches its full potential.
SHOW DETAILS
Venue: Trades Hall, Cnr Lygon & Victoria Sts, Carlton
Season: until 11 October | Wed - Sat 7:30pm, Sun 6:30pm
Duration: 40 minutes
Tickets: $28 Full | $23 Conc
Bookings: Melbourne Fringe Festival
Image credit: Afrina Razi
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