This ain’t no honk-honk bullshit clowning.

Kissing Booth is the latest fever dream from Booth the Clown, which fits perfectly into the burgeoning Wellington clown scene. Centred around the concept of self-discovery through romance (specifically kissing), Booth guides us through a series of first-rate bits that have the audience gagging for more.

There’s definitely a rollercoaster-y element going on tonight, with surprises firing out from the get-go. Their entrance is so well-executed and turns in on itself in unexpected ways, going down twists you never would’ve thought of. Every time you think you’ve got a handle on the game, they switch it up on you and you’re left gobsmacked at what you’re seeing and hearing. And that’s just the first five minutes. This ebb and flow is maintained throughout the show as stakes escalate in both scale and absurdity, with a satisfying loop of audience interaction, costume changes, and fresh new clowning.

To execute on an ever-evolving loop like this requires strong planning, energy maintenance, and a huge helping of charm. Booth nails all of that with ease. They’re so warm and welcoming to the audience members they select for their bits, to the point where people are raring to get up there with them – a rare feat in Wellington. We need more performers like this; adept, charming clowns that make interaction feel like a blessing, rather than a threat. Everything feels right with Booth. It’s a huge part of their success.

The audience is always in a state between giggling and outright cackling. Not to spoil any of their jokes, but they’ve got an impeccable grasp of timing and cheekiness. There’s plenty to chew on from a craft perspective here. They lure their participants into a seemingly simple game, and structure their scenes around doing everything to trick them into failing. It’s a genius bit of gameplay that has the audience both cheering for successes and applauding at failures. Everyone is having the most delightful time. Narratively speaking, we even get a puppet villain in the form of The King, who feels like such a real character, and it’s hard to believe he’s being controlled by a hand up his back.

And that’s where I think Kissing Booth‘s real message is.

The King is insistent that Booth’s antics are ‘unfunny’ and demands retribution in the form of coerced kisses. It’s a very funny commentary on the way those in power seek to monopolise the arbitration of comedy because they’re unable to see that they’re the only ones not laughing. The King’s verdict is rendered invalid by the guffaws of the masses inside Newtown Community Centre, and yet Booth still submits to his judgment. The repercussions of his own actions act as the climax of the show, in equal parts hilarious and horrifying. Booth raises the question ‘Who is art really for?’ and answers it with a resounding ‘idk but defo not this fucking guy’. The show demonstrates that comedy is for the people who love it, not the privileged few who would use it to fuel their own egos. Booth’s purpose is to cut such ego down, and rip power away from those who have it with mere words, props and costumes.

Or maybe they’re just a silly little guy.

Kissing Booth is a fantastic addition to the growing clown industry in Wellington. They effortlessly weave audience interaction into malleable bits, creating an experience that feels as safe as it is hilarious. Booth charms the socks off every member of the audience, and by the end we’re blowing kisses at them from our seats. We delight in their successes, revel in their failures, and leave the theatre with grins on our faces.

And maybe a couple of kisses on our hearts.

Disclosure: As a somewhat active member of the Wellington performing arts community, I may be quite familiar with a number of the performers in this show. Having said that, I am not a liar, and there is zero bias in my reviews, shut up.

Also, tickets were provided to me for free by the production. Literally changes nothing, though