FORGET the sedate rhythms of Marcel Marceau. When the mime is performed by Hanoch Rosenn, expect a fast-moving, clever and entertaining act.
He can be showing the stages of human development from monkey through to artist, car driver - and back to monkey again; or good-humouredly, but without condescension, persuading children to mime a tennis game.
He can be a baby with a packet of crisps; or a child still in the womb, waking up and preparing for birth, and kicking and punching his way out. When the child does emerge wide-eyed and ready for the world, he is confronted by a bureaucrat handing him a national insurance number, medical insurance certificate and passport. He puts his head back in, closes the door behind him and returns to foetal position.
But whatever he portrays, this Paris-trained Israeli is up-to-date and in tune with his audience, whatever its age.
Of course, he also has the skills of the classical mime artist - the prehensile face muscles, the mobility of body and wrists and, most important, the art of communicating unfailingly with his audience.
And, although this is essentially a one-man show, some of the best sketches are those where he invites members of the audience on stage with him.
The three 40-somethings he had join him in an imagined motorbike rally, at the Jewish Arts Festival, can rarely have enjoyed themselves more hugely.
