Edinburgh Fringe comedy review

Will we hear One More Time no more times? Britain’s Got Talent sensation Viggo Venn has ditched his Daft Punk signature tune for Strauss, and his hi-vis jackets for a tailcoat.

Only One is a more elegant, less manic, outing than we are used to from the tall Norwegian clown. After a little audience peek-a-boo, he cuts a stylish figure as he swirls around the stage in a graceful waltz, hair and beard neatly trimmed.

His moves are very precise – except when they are not – but even his pratfalls are choreographed with perfect timing. This contrasts with the audience members he makes heavy use of, as they grope tentatively towards doing the right thing.

The participation starts early, with punters invited to replicate his entrance and the way he elicits welcoming cheers from the audience. But it comes into its own when we get into the narrative of the piece. 

Venn is operating in Charlie Chaplin sad clown territory, depicting himself as living alone, pining for the doorbell to ring and bring him the love of his life. And I think we all know where that person will be coming from…

One especially fruitful move is Venn handing one audience member a microphone to provide sound effects for the scenes - particularly as the chap chosen tonight proved a skilled foley artist with a well-judged sense of comic timing. 

Venn’s a generous performer, happy for his marks to get the laughs rather than engineering failure for sniggers at their expense. That the clown himself sometimes cracks up only emphasises the gentle playfulness.

He pulls off some deft set pieces – spaghetti juggling being a particular highlight – while the whole hour has a great sense of pace and rhythm, repetition used sparingly but effectively while building towards the lovely ‘happily ever after’ our charming, wide-eyed protagonist deserves. The story is slight, but a delight. 

Review date: 25 Aug 2026
Reviewed by: Steve Bennett
Reviewed at: Pleasance Dome