Jordan Brookes’ “Fontanelle” showcases his versatile skill and physicality as a comedian while pushing theatrical boundaries with a disjointed exploration of the absurdities of male heroism and the societal need to commodify that necessitates a larger need for continuity.
After winning numerous awards throughout his seasoned career, Jordan Brookes has brought his acclaimed comedy-musical adaptation of “Fontanelle” to London. Following a highly praised run at the Edinburgh Fringe Festival, it was hailed as one of the top three comedy shows of the 2024 season, but struggles to meet that expectation in its run in London.
The show draws inspiration from the commodification and mass consumption of the Titanic disaster. Brookes aims to artfully weave themes of patriarchy, male fragility and absurd heroism into a comedic exploration of this societal obsession with tragedy and death. The production opens with a montage of Titanic films and TV shows, mocking the commercialization of disaster, before shifting into a musical number. Brookes intentionally jabs at the exaggerated physicality of musicals poking fun at their heightened characteristics.
In a “Play That Goes Wrong”-style gag, the production deliberately derails to restart and demand more applause for Brookes’ entrance. The first half is grounded in audience interactions, with Brookes examining the absurdity of male heroism and fragility. He playfully tackles the uncomfortable idea of finding pleasure in the tragic deaths of the Titanic’s passengers, even remarking that just days after the disaster, a woman capitalized on her experience by working with a production company. This reflection on the commodification of tragedy finds its anchor in dark humor while maintaining its unsettling nature.
While Brookes’ early jokes about male validation and fragility hit their mark with a few members in the audience, the second half of the show takes a more disjointed turn. The introduction of the ‘Fontanelle’—the soft spot on a baby’s head—marks the start of the show’s chaotic downward shift. As Brookes and his cast mimic his voice and physicality, pretending he’s offstage due to a ‘depressed fontanelle,’ the production dissolves into a farcical mess. The humor becomes increasingly absurd, veering into vulgar territory with sexual jokes that fail to consistently land with the audience.
Despite the lack of consistency, Brookes embraces the nonsensical nature of his jokes, reinforcing the theme of male dissatisfaction. His talent for physical comedy and unique vocal qualities are evident, particularly in musical etudes like “A Captain’s Life” and “Brave Boy,” which showcase beautiful harmonies from the cast.
Ultimately, ‘Fontanelle’ struggles with continuity while acknowledging moments of Brookes’s reflection on how ridiculous moments are. The second half lacks the same audience interaction that made the first half more engaging, and the production’s disjointedness undermines the initial concept. While the show pushes the boundaries of theater, experimenting with farce, musicality, and stand-up, it doesn’t quite find its footing. The concept of ‘Fontanelle’ or the Titanic never fully ties the show together, and while Brookes’ loyal fan base remains engaged, the lack of a clear through-line detracts from the overall experience.
Brookes is a gifted comedian with great physicality and a distinct vocal style. ‘Fontanelle’ feels like a work still in progress—an ambitious experiment that requires more coherence to truly succeed.