A comedic revelation of how beliefs and truths are manipulated over time
Religion has become a point of contention in our postmodern society. Once taken as absolute truth, the renowned (and still, often culturally referenced) stories in the Bible, such as when Jesus transformed water into wine, and the crucifixion, are now subjected to debates and mockeries. Mistero Buffo is brilliant in that it toes the line, never crossing, between appealing to the believers and the non-believers. Dario Fo’s darkly funny play spares no one, not even Jesus Christ, from the most naughty and deliciously-written jokes. However, it is also an appreciation of the occurrences that have shaped our lives without us even realising it, and a fantastic insight into the minds of the public at the time these stories took place.
Fo recognises the many emotions and thought processes surrounding these fantastical occurrences. The Bible was written by revered, articulate figures, but what about the people like you and me? How would you react if you witnessed a miracle? Mistero Buffo resonates with our shock and bewilderment, the ever-increasing need to disregard the unexplainable – and the ever-increasing need to believe in something beyond what we can see.
Mistero Buffo was performed in the Pleasance Theatre, north London, by Julian Spooner. He is adept at switching between characters, accents, and emotions. Spooner delivers the stories that we all thought we knew enough about, or have become bored with hearing yet again, in a way that is so engaging and wonderful that we cannot help but sit forward and watch eagerly as he moves around the stage with confidence. He is agile, showcasing a mix of goofy and eclectic dance moves, and seems to genuinely enjoy interacting directly with audience members. With a religious play like Mistero Buffo, we may initially cast our minds to the invasive street preachers screaming into microphones around the city. Spooner’s performance feels personable and exciting, like a friend recounting an amazing event they have recently experienced and recommend to everyone.
Lighting designer Geoff Hense succeeds in creating a visually pleasing atmosphere. His use of colour and positioning of the lights allows the audience to keep up with Spooner’s rapid shifts in emotion. Mistero Buffo has no production design, but Hense’s artistry creates the brilliant illusion of rich and detailed situations.
However, Mistero Buffo is not without its flaws. For example, the play begins with Spooner dressed as a Deliveroo driver (jacket, huge cube rucksack, the works). He makes us laugh by explaining the importance of tipping the Deliveroo workers – seemingly a statement about how the financial state of this country is awful? – but the shtick ends there. It feels unnecessary, and after removing his jacket to reveal an old, white garment, the clothing worn by the people of Jesus’s time, I wonder why he did not just enter like that in the first place.
Also, some of the gags were slightly longer than they should have been. Mistero Buffo is a play that includes a lot of shouting and dancing! While these may be really funny at first, the joke does end after a while, yet Spooner continues. Overall, though, Spooner shows us that he has a great understanding of comedic timing, and many of his jokes land very well.
Mistero Buffo, though not perfect, is certainly an entertaining play. It satirises religion without ever truly insulting it or downplaying its importance. Spooner is a performer filled with entusiasm and energy, and is absolutely worth a watch!