This guy – Fabio Motto – is absolutely brilliant. In the first instance, he has drawn on fact and upended it to craft an immersive, engaging and thoroughly entertaining story. More to the point, he and he alone (with a little help from the lighting and sound designers) manages to hold us in the palms of his hands for 90 minutes. That is no mean feat.
Onto the premise. From when he was young, at the end of the 12th century, Francis of Assisi knew he would become famous. As Francis, Motto poses the question, how does one achieve that? The answer: one goes to war, for with victory come the spoils. So, he does just that, only it doesn’t work out as he had intended. In bringing down a number of adversaries, he is captured, jailed and tortured.
While imprisoned and at his lowest ebb, he is visited by Jesus, before promising to dedicate his life to a higher power. Bailed out by his wealthy father, the old man subsequently disowns him after Francis gives away all his material possessions and starts doing likewise with his father’s. Now going it alone, Francis builds around him a tribe of loyal followers who buy into the concept of making the world a better place.
But for his order to be officially recognised, he has to obtain the imprimatur of no less a religious figure than the Pope. So off to Rome he goes and then he and his flock travel far and wide to spread the word of God. That doesn’t come without its challenges and only in death is Francis’ life’s work recognised with sanctification.
This celebration of the life of Saint Francis comes on the 800th anniversary of the passing of the patron saint of Italy, ecology and animals. He died on 3rd October, 1226, at the age of 44. Motto takes to the stage in faux armour, at first only using mime and then adding sounds to strike a chord with the audience, which he does quickly. He performs a lively jig, displays his swordsmanship sans sword, before mounting a horse that doesn’t exist.
His clowning is exemplary – his facial expressions so evocative throughout the show. His spans the gamut from despair to euphoria. Importantly, he breaks the fourth wall repeatedly. Members of the audience become his compatriots in his mission, but not before whipping Assisi while the latter is imprisoned. As Assisi, Motto is not afraid to ask us some difficult questions. His reactions are priceless.
Collectively, we find ourselves singing famous French nursery rhyme Frère Jacques, giving praise for our lives and families. But the surprises don’t stop there. They are dotted all the way through this extraordinary offering. Motto manages to tap into the zeitgeist with clarity and conviction. He is hilarious and he is vulnerable.
He assumes the role of a man in search of meaning … of Jesus, of Assisi’s frustrated father, of the Pope. His clothing choices reflect his journey, ending up in holey (and holy) brown garments reflective of Franciscan friars. The sound design by Jack Burmeister is special. It transports us to the heart of the action. I speak of redolent sound effects and music that is, on occasion, dramatic, mellow and ethereal.
Max Woods’ well-crafted lighting design – from intimate to expansive, including smart use of the silhouette – helps set the mood most effectively. A simple, unpretentious set by Em Jevons captures the earthy minimalism that became Assisi’s life’s work. The show culminates remarkably (in fact, arguably, there are two remarkable endings), which I am not about to spoil.
Suffice to say, we are with Motto (or should that be Assisi) all the way. His is one of the most wonderful performances I have had the good fortune to witness. Put simply, it is sublime. This is a man who has mastered his craft with distinction. He is intoxicating. Just like Assisi back in the day, he enchants and figuratively carries us with him. We are his choir, his cheer leaders – any doubt dissipated.
Director Giovanni Fusetti capitalises on Motto’s many strengths to present a thoroughly involving piece of theatre, which metaphorically wraps its arms around us. If the artistic delights of the stage are your bailiwick, you simply must see Holy Fool. It is on at Theatre Works’ Explosives Factory until 19th September, 2026.
Alex First
Other reviews you might enjoy:
- Sainting Joan, at Theatre Works’ Explosives Factory – theatre review
- Big Religion (Fruitcake Productions), at Theatre Works’ Explosives Factory – theatre review
- BEASTS (Persona Collective), at Theatre Works’ Explosives Factory – theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.