EDINBURGH 2026: Review: LIL WENKER: BOYKING, Pleasance Courtyard, Bunker One

Lil Wenker is a force of energy. With absolute commitment and command of her craft, she storms onto the Edinburgh Fringe with BOYKING, a brand new "clown horror comedy", which demonstrates just how exponentially she has grown since her previous excellent show BANGTAIL.

Having seen BANGTAIL, it is immediately apparent just how much Wenker has developed in confidence, creativity and dedication to fully embracing and becoming her roles. There is an extraordinary commitment to every movement, expression and vocalisation, creating a performer who appears incapable of giving anything less than everything to the audience.

Even before the show begins, Wenker welcomes the incoming crowd with enthusiasm with a dance version of Greensleeves, immediately upping the energy to epic status. It is an appropriately chaotic introduction to what follows.

The audience is welcomed as members of the Royal Court by Wenker’s first character, the Jester, who introduces Prince Wilfred, affectionately known as Willie. At just eight years old, Willie is apparently an “absolute delight” verbally, although the increasingly sinister warnings suggest otherwise.

Willie has a speech impediment, is wildly dangerous and, as the audience is warned, is highly likely to steal all manner of belongings from members of the front row. When a devious voice tells Willie to find a way to take the throne, the stakes rapidly become higher and the childish pursuit of power begins to spiral into something considerably more sinister.

Three original and captivating songs are seamlessly infused into the action, showcasing Wenker’s incredible vocal range and talent. They never feel like interruptions to the story, instead becoming an integral part of the escalating madness and demonstrating the performer’s ability to move effortlessly between clowning, character work, music and physical comedy.

The energy, clowning and commitment are breathtaking. It is irresistible, wildly absurd, bordering on entirely unhinged and her presence is gloriously unmatched. Wenker embraces the grotesque and the ridiculous with such complete conviction, that the audience is swept along with every increasingly outrageous development.

Yet beneath the apparent madness, is a pointed examination of power. As the weight of the crown bears down further on Willie and his tyranny develops, the show uses its absurd royal world to reflect societal issues surrounding the patriarchy, the disgusting effects of misogyny and the power existing in the supremacy of royalty.
This is where BOYKING demonstrates the real strength of its clowning. Wenker does not simply create an outrageous character for comic effect. The grotesque behaviour becomes a means of holding up a distorted mirror to the structures of power, which exist beyond the stage. The result is comedy which is both riotously entertaining and politically charged.

The influence of Bouffon and the tradition of subversive mockery are evident throughout, but Wenker’s performance never feels restrained by convention. Instead, she takes the form and pushes it towards something entirely her own, creating an experience which is unpredictable, wild and gloriously ridiculous.
Following the international success of BANGTAIL, which sold out runs across five countries and earned the Best Comedy award in the Adelaide Fringe Weekly Awards, BOYKING confirms that Wenker has developed into a formidable performer and creator.

Reader Reviews

To post a comment, you must register and login.

Need more UK / West End Theatre News in your life?
Sign up for all the news on the Summer season, discounts & more...