A BOLD, CHAOTIC, AND THOUGHT-PROVOKING RIDE

By Emma Carney | Bunny Pudding · Digital Coven · @bunnyscopes ⭐⭐⭐⭐ | Press Invite

Jordan Brookes’ Fontanelle is a show that dares to be messy, and in its messiness lies its brilliance. The title itself—a reference to the soft spot on a baby’s head, the most vulnerable part of us before we harden into adulthood—sets the stage for a production that is as much about fragility as it is about the absurdity of human existence. My sort of show then. Brookes, a master of blending comedy with existential musings, takes this metaphor and runs with it, crafting a show that is equal parts hilarious, unsettling, and oddly profound. Also, maybe not as musical as you’d expect…

From the moment the lights dim, Brookes commands the stage with his signature charm and self-deprecating wit. The show opens with a montage of Titanic films and TV shows, a clever nod to the commodification of tragedy that Brookes skewers throughout the performance. It’s a bold choice to anchor a comedy show in one of history’s most infamous disasters, but Brookes pulls it off with a mix of sharp satire and dark humour. The musical numbers, particularly “A Captain’s Life” and “Brave Boy,” are standout moments, showcasing not only Brookes’ vocal talents but also the stellar supporting cast—Eddy Hare, Rosalie Minnitt, Isobel Rogers, and Lami Olopade, who bring both comedic timing and musical flair to the stage.

The first half of the show is a masterclass in audience interaction, with Brookes exploring themes of male fragility and heroism with a mix of playfulness and bite. His jokes about male validation land, even with this feminist thespian lesbian and his ability to weave uncomfortable truths into laugh-out-loud moments is a testament to his skill as a performer.

However, Fontanelle takes a sharp turn in the second part, veering into chaotic, farcical territory. The introduction of the titular ‘fontanelle’ as a plot device—a depressed soft spot that side-lines Brookes’ character—marks the start of a descent into absurdity. I loved it and While this shift is intentional, it doesn’t always land as effectively as the first half. The humour becomes more disjointed, with some jokes feeling overly vulgar or out of place. Yet, even in its messiness, there’s something compelling about the chaos. Brookes leans into the nonsensical nature of his material, using it to underscore the show’s themes of dissatisfaction and the absurdity of human narratives.

The production design is a standout element, with brilliant lighting by Dan Carter-Brennan, inventive sound design by Sarah Spencer and Ciaran Clarke, and clever choreography by Jessica Simmons. The costumes and props add to the show’s playful, theatrical atmosphere, creating a visual and auditory experience that complements Brookes’ unique brand of comedy.

While Fontanelle may not tie all its threads together neatly, that’s almost the point. The show is a reflection on the messiness of life, the stories we tell ourselves, and the ways we navigate our vulnerabilities. It’s a bold, ambitious piece of theatre that pushes boundaries and challenges its audience to think while they laugh.

For fans of Brookes’ work, Fontanelle is a must-see. It’s a show that doesn’t shy away from taking risks, and even when it stumbles, it does so with a sense of purpose. At its best, it’s a hilarious, thought-provoking exploration of masculinity, tragedy, and the stories we cling to. At its worst, it’s a chaotic, uneven ride—but one that’s still worth taking.

Jordan Brookes: Fontanelle is running at Soho Theatre until Saturday 1 March.

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⭐⭐⭐⭐ – It’s a theatrical experience that will leave you laughing, thinking, and maybe even a little unsettled.

Photo Credit: Jennifer Forward-Hayter