We are warned at the beginning of this show that audience interaction is imminent. Some people shift nervously, others try to make themselves more noticeable, but we all are intrigued. This tension quickly dissipates as the traditional charm and contemporary humour of the production takes over. The show returns for its second year at the Fringe and it still does exactly what it says. Instead of speaking, The Boy - Sam Wills - uses the power of imagination, some ropey props and the sheer influence of eye contact to communicate a whole range of emotions. It’s sarcasm however, that dominates, as he squints and stares with an intensity that you are simultaneously amused and slightly scared by.This is much more that a mere mime show. It is meticulously structured, from the Amelie style music to the carefully selected participants. There is not one aspect that hasn't been painstakingly thought through and agonised over and so to call this show original would be an understatement. By bringing the inanimate to life, such as turning shoes into a singing Stevie Wonder or transforming a ball of plasticine into a romantic – if a tad creepy - rendition of Ghost, there is an air of magic about the show. Through his jokes and jibes, Wills is careful to retain an innocence and sweetness, particularly in a scene where he awkwardly woos an unsuspecting woman by holding her hand and devising a red rose entirely from tape. Adorable.The concept is simple but the execution is deceivingly complex. Wills is a captivating presence and the show could easily fall apart if it wasn't for his personality. You perhaps would not expect something so clever to produce such unadulterated and uninhabited laughter. But that would be to mistake low-tech, DIY beauty for unordered chaos. Don't let the tape fool you, this boy knows what he is doing. The show does not fail to impress, baffle or capture your imagination and the element of surprise is never far away. In this case, actions truly do speak louder than words.
