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OH OH

OH OH is an hour of beautiful, uplifting, delightful playfulness. Go see it. If I didn’t have a minimum word count to fill, I’d leave it at that, but this needs to be at least 300 words so, here we go.

An hour of beautiful, uplifting, delightful playfulness

After their multi-award winning, international hit, PSS PSS, Camilla Pessi and Simone Fassari of Compagnia Baccalà have returned with an hour of pure joy. Two characters share the stage and pass their time alternately entertaining and antagonising each other in a show of clowning, slapstick, and circus that harks back to the work of Buster Keaton, Fellini, and Charlie Chaplin. Although this is a performance steeped in the history of clowning, it feels effortlessly contemporary and original.

Opening with Fassari asleep on a chair, Pessi descends from the flies on a rope ladder to awaken him and encourage some playtime. Fassari cuts an intriguing figure with his expressive face, one moment hangdog and bewildered, the next childlike and delighted while Pessi is the mischievous imp, quick to cause a little chaos, instigate a competition or throw a fit. Yet both of these characters are clearly sweethearts with no real malice towards each other. There’s some lovely business with taking off and putting on coats that sets the stage for the ongoing rivalry between these two. It’s a classic trope of clowning and to see it presented with such skill and grace is a thrill.

As the show progresses, there’s chaos with silver balls and wastepaper baskets, fights over sitting privileges, and accordion and trumpet playing. Adding in some spectacular acrobalance and a smaller accordion seems to round out the perfection and we’re left where we started; with Fassari asleep on a chair, and Pessi ascending to the flies on a rope ladder leaving us with the impression that this is their everyday, a Beckett-inspired existential loop of happiness.

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Reviews by Frodo Allan

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Since you’re here…

… we have a small favour to ask. We don't want your money to support a hack's bar bill at Abattoir, but if you have a pound or two spare, we really encourage you to support a good cause. If this review has either helped you discover a gem or avoid a turkey, consider doing some good that will really make a difference.

You can donate to the charity of your choice, but if you're looking for inspiration, there are three charities we really like.

Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
Donate to Mama Biashara now

Theatre MAD
The Make A Difference Trust fights HIV & AIDS one stage at a time. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa.
Donate to Theatre MAD now

Acting For Others
Acting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. During the COVID-19 crisis Acting for Others have raised over £1.7m to support theatre workers affected by the pandemic.
Donate to Acting For Others now

Performances

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The Blurb

After the stunning success of PSS PSS, the multi-award-winning Compagnia Baccalà returns to the Fringe with OH OH! This new show is firmly placed in the history of clowning, harkening back to such figures as Chaplin, Buster Keaton, and Fellini. OH OH is a wordless performance, a joyful combination of acrobatics, humour, and slapstick. It is a slice in the life of a double act, an absurd pas-de-deux, an encounter between clowning circus and physical theatre at its best. 'A marvel.' (LeFigaro.fr). 'A triumphant return.' (LaRegione.ch).
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