Thunderfoot

Aaron heaves his “casual virtuosity” and “comedic brilliance” into this one-man fairy tale. Thunderfoot is one of those shows that stays with you long after curtains close.

June
  1. Sun
  2. Mon
  3. Tue
  4. Wed
  5. Thu
  6. Fri
  7. Sat
  1. 1
    1. 5:30 pm
      Thunderfoot

      See https://theatreinlondon.ca/2017/06/thunderfoot/ for details.

      Location: McManus Stage

  2. 2
    1. 3
      1. 7:30 pm
        Thunderfoot

        See https://theatreinlondon.ca/2017/06/thunderfoot/ for details.

        Location: McManus Stage

    2. 4
      1. 1:30 pm
        Thunderfoot

        See https://theatreinlondon.ca/2017/06/thunderfoot/ for details.

        Location: McManus Stage

    3. 5
      1. 7:15 pm
        Thunderfoot

        See https://theatreinlondon.ca/2017/06/thunderfoot/ for details.

        Location: McManus Stage

    4. 6
      1. 8:45 pm
        Thunderfoot

        See https://theatreinlondon.ca/2017/06/thunderfoot/ for details.

        Location: McManus Stage

    5. 7
      1. 8
        1. 7:15 pm
          Thunderfoot

          See https://theatreinlondon.ca/2017/06/thunderfoot/ for details.

          Location: McManus Stage

      2. 9
        1. 10

          Presented by Life & Depth

          Location: McManus Stage

          3 thoughts on “Thunderfoot”

          1. Jay Ménard
            Reviewer
            says:

            London Fringe – Thunderfoot: Moving Art, in Every Sense of the Word

            By Jay Menard

            Thunderfoot, by Aaron Malkin, is more than just a mere performance — it is moving art, in every sense of the word.

            Thunderfoot can best be described as living, breathing, art. Malkin, who is known to Fringe viewers as one half of the James and Jamesy duo (he’s the taller, less hirsute, James), uses his body as a brush — painting imagery with his movements and leaving behind a tableau upon which his story is told.

            It’s truly beautiful to watch and the precision and delicacy of his movements leave nothing — and everything — to the imagination. The set is barren, but Malkin, through nothing more than making sounds and using his body to “draw” the environment. He creates images, using the power of our imagination, that are as real and persistent as any wood-and-paint set.

            It’s a play based on movement; and it’s a play that moves you to the core.

            The story is described as a one-man autobiographical fairy tale. It tackles the real-world death of Malkin’s mother, who was addicted to drugs, through the creation of an imaginary world. It is a world where the main character, Mattias — a young boy whose mother left him in his youth — is moved to protect his village from a giant using a magic stone that reduces the size of one’s danger by a factor of 100.

            Malkin plays multiple roles, ranging from Mattias, to his father, to an elderly bookshop owner, to the mayor of the fictional town. Through only changes in his body language and voice, he embodies each and every character, giving them form and vibrancy. And his ability to transition from one character to another, or one scene to the next, all within one fluid movement, is a wonder to behold.

            It has all the Malkinisms you’ve come to expect: beautifully choreographed movement, delicate and subtle body control, and inspired interplay with the crowd and improvisational work. It has that underlying sweetness and joyful sense of play that all his work features. But it also has some unexpected surprises — such as Malkin’s singing voice! The show features a couple of musical numbers that could be hokey in less-talented hands, but are poignant and emotive in this context.

            Thunderfoot is a show that invites you to play, to imagine, and to explore. It’s a play that engages your inner child, commands you to embrace a flight of fancy, and, in the end, it touches your soul. It’s also a must-see on this Fringe circuit.

            *****

          2. clara.madrenas
            Subscriber
            says:

            Thunderfoot is a moving exploration of childhood loss and a master class in physical theatre and use of voice and sound. Don’t miss it!

            *****

          3. Melony Holt
            Reviewer
            says:

            Thunderfoot is a one-man autobiographical fairy tale. It’s a sweeping fantasy of a story. And it all starts as the stage is set by the presence of Aaron Malkin.

            No. Really. Malkin sets the stage using just his hands to draw the scenery. He makes sounds to accentuate the objects that are coming to life in the audience’s minds.

            It’s such a clever way to tell a personal life story. Malkin starts off by telling us his mother passed away when he was four years old. This is where the tale starts to spin.

            We are transported to a fairy tale land where the rest of the story takes place. Malkin’s ability to transform the stage into each scene is effortless and highly entertaining. His skill of miming is highly refined and his character work is hilarious and endearing.

            If you have had the pleasure of seeing Malkin’s other shows at the Fringe — the James & Jamesy productions, Thunderfoot represents a new side of him that we have previously not seen. Not only is he much more animated, but he also showcases a beautiful singing voice throughout the story.

            At the end we are returned to reality when he switches gears to tell us the truth of his mother’s cause of death. And we’re left with an odd combination of sadness, joy, and empathy that lingers long after Malkin leaves the stage.

            The term autobiographical fairy tale may seem odd, but it’s the perfect description of what Malkin presents. It’s a clever, joyful, story that’s filled with a sense of play, but one that deals with a hard and emotional topic

            *****

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