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Julian Bonnet’s ‘Lima’ is an evocative, kaleidoscopic blend of storytelling, movement, and music that takes the audience on a deeply personal journey through the artist’s formative years. At times humorous, at times poignant, his one-man show is an introspective odyssey exploring the challenges and triumphs of growing up, finding one’s place, and navigating the complexities of family, identity, and loss.
The play opens with a lighthearted reenactment of a ride on the Paris metro, immediately drawing the audience in with its humour and relatability. Bonnet’s comedic timing is inspired, his personable tone creating a vivid world that feels instantly familiar, even to those who have never experienced Paris firsthand. His account of a frustrating exchange at a fast-food drive-through, where he’s repeatedly asked, “Would you like sauce with that?” to the point of near-madness, had the audience in stitches - an excellent example of how he crafts everyday moments into sharply observed comedic gems.
Lima is not just a comedy; it’s an exercise in contrasts. The play’s lighter moments give way to stories of grief, loneliness, and self-doubt, inviting the audience into some of the darkest corners of Bonnet’s life. His tales of navigating depression and loss, told with a raw vulnerability, are particularly moving, highlighting the strength it takes to transform pain into art. These shifts in tone - from laugh-out-loud to somber and introspective - are where Bonnet’s talent truly shines. It’s his ability to package such complex emotions in a way that feels accessible to all that makes ‘Lima’ not just an engaging performance, but a powerful piece of storytelling.
There’s a palpable sense of intimacy throughout ‘Lima’, as if we’re witnessing Bonnet’s thoughts unfolding in real-time. The play’s episodic structure, while initially feeling somewhat disjointed, eventually comes into focus as a deliberate reflection of memory itself - fragmented, non-linear, yet threaded together by Bonnet’s emotional truths which underpin each story. By the end, I realised that ‘Lima’ doesn’t need a singular, unifying theme. The common thread tying everything together is simply the significance of each moment to the performer himself, and Bonnet’s commitment to sharing his lived experiences in their truest form.
One of the play’s most impressive aspects is Bonnet’s versatility as a performer. He fluidly transitions between English and French, leveraging his bilingualism to amplify the emotive power of his words. For those of us familiar with either language, his rapping and lyrical delivery were mesmerising - evidence of his command over language and rhythm. For those to whom rap does not appeal, Bonnet’s physicality and expressive gestures transcended linguistic barriers, ensuring that every audience member could connect to the emotion behind the words.
Bonnet’s performance is punctuated by memorable skits and visual elements that elevate the narrative. From the whimsical retelling of his childhood antics as a self-proclaimed “violent baby” to the more introspective segments featuring old family anecdotes and voice notes from friends, ‘Lima’ blurs the lines between theatre, spoken word, and performance art. Each scene unfolds like a page from a diary - rich with detail and steeped in authenticity.
The moments he shares with his sister, for instance, are tender yet filled with a sense of camaraderie, mirroring the kind of sibling bond many can relate to. His playful recounting of their adventures, alongside the darker memories of supporting each other through difficult times, reveals a profound sense of familial love that is both touching and bittersweet.
What ‘Lima’ may lack in traditional structure, it more than compensates for with its inventive form and emotional sincerity. The play feels almost like a stream of consciousness, the transitions between scenes sometimes abrupt, the themes loosely connected. But such is the nature of creativity, and it’s this willingness to take risks - whether by incorporating dance, rap, or multimedia elements - that makes 'Lima' stand out. Bonnet isn’t just performing a role; he’s inviting us into his mind, showing us the messy, beautiful process of turning life into art.
Perhaps 'Lima' is best understood not as a play, but as a mosaic of memories, thoughts, and emotions that ultimately form a coherent picture of the artist’s journey. It’s a performance that speaks to the messiness of real life, where joy, pain, hope, and despair are inextricably intertwined.
For a debut solo piece, 'Lima' showcases immense potential. Bonnet’s command of various mediums, his dynamic storytelling, and his ability to connect deeply with the audience suggest a bright future ahead. Each vignette in 'Lima' feels like a seed that could grow into a larger work, and that prospect is thrilling. As a young man who also has a sister, has lived in Paris, and has watched ‘Bad Boys 2’ more times than I’d care to admit, I found myself surprisingly represented in Bonnet’s story. It’s as if he created 'Lima' for people like me, those who can see fragments of their own experiences reflected in his.
Julian Bonnet may not have followed the traditional playwright’s guide, but in doing so, he has created something wholly unique - an artistic exploration that defies categorisation and rewards those willing to join him on this unconventional journey. I, for one, am eager to see where his train of thought takes us next.
