Esme Davis
Mussolini, the father of fascism, wartime leader of Italy, merciless dictator and … clown?
Tom Corradini Teatro marches on stage in full military uniform, and stares down the audience. His face twists and contorts as though the character is fueled by rage and rage alone. There is a coldness and cruelty right from the start, but this is comically heightened to an absurd degree. Corradini then embarks on a humorous and detailed analysis of who Mussolini was, with dramatic monologues analysing the psychology of his position interspersed with child-like re-enactments and skilful clowning. Each moment is carefully thought through, building up the fascinating, vivid, and contrasting character that is Benito Mussolini.
Despite being a reflection on history, many elements of this show cast an uncanny familiarity to many scenes making the news in today’s political climate. The speech-like delivery, the childish temper tantrums, and the escalating infighting between various world leaders are certainly not events that are left in the past, and the commentary being made by this show remains sharply relevant today.
When portraying the role of such a controversial and vile character, there is a thin and important line to tread on how far the performer leans into the prejudices and cruelty. Corradini is clearly careful around this, often opting to clown around the serious subjects rather than exploiting the controversy of them. There are a few moments and gestures that some audiences may find disrespectful, however it should also be considered that it would be misleading to sanitise a character like Mussolini. From my perspective, Corradini strikes a good balance between making an accessible and considerate show without making light of the matter at hand.
The moments of clowning are laced throughout the piece and intertwine with the fascist methodology to hilariously expose and ridicule the absurdity of it. From obsessing over the volume of milk in a glass, to vocally delivering gunfire sound effects, Corradini spills an incredible energy and surety into the personas he steps into. Making full use of the one-man show format, he creatively builds Mussolini’s world, as we see one side of conversations, slick multi-roling, and at one point he even manages to portray the type-writer as Mussolini simultaneously writes on it.
The set design is practical. It is arranged with small props that seem arbitrary at the beginning of the show, but have their means gradually revealed throughout the piece. A notable highlight to the prop design was the impressive and surprising puppet that emerged later in the show. The surreal design and suddenness of this moment was very effective in spiking the energy with a new intensity.
This show ticks box after box – it’s educational and disconcerting, funny and insightful. Corradini navigates an intricate array of characters and scenarios with ease and confidence. The show glides from moment to moment with smooth, barely-noticeable transitions. This works well to maintain pace and energy, but does become disorienting from time to time when trying to work out where one scene ends and the next begins.
Prepare to learn, laugh, and feel strangely connected to the ominous figure of Mussolini. Corradini strikes a stark and unique commentary, successfully bringing both his person and his persistent relevance to Fringe 2025.
Recommended Drink: Stinger cocktail, strong and smooth.
You can catch Mussolini until August 24th at theatre at C ARTS | C venues | C alto from 17:25 (60mins). Tickets are available through the EdFringe Online Box Office.
Jasmine Silk
Jake Mace
