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There isn’t a concrete, discernible plot to Slava’s Snowshow; rather, it is more like a series of loosely-connected, dreamlike vignettes that act to move you in different ways, all without ever surrendering the absurdist and chaotic humour of acclaimed clown and creator, Slava Polunin.
Descriptions of the clowns themselves are harder to articulate. The Lead (Artem Zhimo), garbed in a billowing yellow suit, displays an immense amount of character and personability despite speaking only in gibberish of varying tones and pitches.
Slava’s Snowshow at Palace Theatre
Slava Snowshow standing up clowns by Vladimir Mishukov
The same can be said for the remainder of the cast, who, despite all being draped in the same long green coats and matching hats, have unique and varied personas that shine through, irrespective of their similar appearances and lack of coherent enunciation.
The physical humour is relentless – in fact, the entire production is contingent on the physicality of the clowns on stage, as barely a real word is spoken throughout the entire performance. The nuance and attention to detail from each performer is astounding, with even the subtlest of movements clearly being a considered and intentional choice from an entertainer at the peak of their craft – the cast is made up of an array of the world’s most talented working clowns, who each deliver a career-defining performance that makes it apparent why they’re worthy to be on stage.
“Relentless, astounding physical humour”
Before attending the Snowshow, I had been warned by another reviewer about it being very “immersive”, which is certainly one way to describe some of the show’s more enchanting moments. Put simply, the clowns and the snow are not limited to the confines of the stage, and they take some serious liberties in making sure you know this – this is a big aspect of the Snowshow’s spectacle, and I can definitely understand it not being for everyone. However, if you are even slightly intrigued, then I can assure you that it is an experience like no other, especially if you’re seated anywhere remotely close to the front.
Superb lighting and staging
Slava Snowshow Colour balloons in the audience by Veronique Vial
The lighting (helmed by Sofia Kostyleva), staging (Mathieu Simon) and sound (Alistair Kerslake) all perfectly encapsulate and enhance the feeling of the respective scene; whether it’s through discreet, warm ambiences, or raging crescendos and movements, the combined talents in these individual areas all amalgamate to create dozens of cohesive and breathtaking moments throughout the duration of the production.
“The play liberally weaves from the absurd to the surreal”
Stylistically, the play liberally weaves from the absurd to the surreal, the comedic to the tragic, all without any indication of where it’s going to go next. Between all the fake paper snow being propelled into your face and the clowns rampaging through the audience, there are unexpected moments of real tenderness and heart that elevate the production beyond both the regular limitations and expectations of the comedic genre.
All this considered, the Snowshow is still best defined by its intrinsic joyous and whimsical nature, and is an exciting thrill for any who gets the opportunity to go. I can only extol the work of everyone involved for creating such a charming and eccentric production that will indubitably be remembered as a masterclass of international clowning talent.
Tickets for Slava’s Snowshow at Opera House
Slava’s Snowshow will be on at the Opera House until the 26th of October.
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