Tag Archives: Almeida Theatre

RHINOCEROS

★★★★

Almeida Theatre

RHINOCEROS

Almeida Theatre

★★★★

“an appeal to the senses, an experience as peculiar and nonsensical as a fit of the giggles”

Director Omar Elerian’s electrifying interpretation of the absurdist classic Rhinoceros is as much about theatre as it is about marauding pachyderms.

In his vision of French Romanian writer Eugene Ionesco’s 1959 fable, Elerian meticulously parodies the conventions of theatre and presents them back to the audience with a knowing wink.

In this case, theatre becomes a series of artificial and disconnected moments that meld alchemically into a kaleidoscopic whole.

People don’t so much talk to each other as engage in the mechanics of dialogue, delivering nonsensical retorts and ever spiralling repetitions. No-one listens. Communication is impossible. Extended riffs on, say, the number of horns on the eponymous rhinoceros rise into a dizzying tumult of words, sometimes pin sharp, then losing focus, only to return to a semblance of meaning measured by weight alone.

The audience is puzzled, bored, irritated, mesmerised, intrigued, amused – often within the same minute.

In an overlong and sometimes grating production, the story features a provincial French village – perhaps something out of a Wes Anderson movie – with a cast of deadpan pedants and eccentrics. A rhinoceros charges through the village square causing chaos. Then another, which tramples a cat. Soon it emerges that the villagers themselves are becoming the beasts.

Political writer Ionescu was, perhaps, thinking of the spread of fascism in pre-war France, making points about conformity and appeasement to the monstrous.

Elerian, wisely, veers away from heavy-handed politics and leans into the comedy. In his own translation, he updates the gags to include references to Covid, Wallace and Gromit and Severance. He gathers about him a troupe of actors superbly adept at the challenge of farce.

John Biddle, Hayley Carmichael, Paul Hunter, Joshua McGuire, Anoushka Lucas, Sophie Steer, and Alan Williams – in suitable white coats against a box-of-tricks white stage – are put through their paces in a series of scenarios, like an improv troupe picking suggestions out of a top hat.

Elerian creates a grandiose, meta-flecked circus – complete with clowns, kazoos and funny wigs. His message appears to be that laughter creates community when meaning fails.

In the most effective sequence McGuire, as Jean, battles with the agonies of transformation, a rousing set piece that exemplifies the thrilling choreography that is a highlight of the production.

Like Jean, the villagers succumb one by one to the plague until the hero of the piece, flustered slob and everyman Berenger (Ṣọpẹ́ Dìrísù), is left on his own, making a stand against the onslaught.

At this point, anti-theatre becomes theatre again. Rhinoceros finally relies on the tropes of storytelling to make a connection – but too late. Without the groundwork, this burst of coherent humanity feels unearned.

Never mind. Rhinoceros is an appeal to the senses, an experience as peculiar and nonsensical as a fit of the giggles.



RHINOCEROS

Almeida Theatre

Reviewed on 1st April 2025

by Giles Broadbent

Photography by Marc Brenner

 

 

 


 

Previously reviewed at this venue:

OTHERLAND | ★★★★ | February 2025
WOMEN, BEWARE THE DEVIL | ★★★★ | February 2023

 

 

RHINOCEROS

RHINOCEROS

RHINOCEROS

OTHERLAND

★★★★

Almeida Theatre

OTHERLAND

Almeida Theatre

★★★★

“This is a jaunty and compassionate production”

The confetti thrown in good cheer remains on the stage long after the wedding is over and the marriage has fallen apart in writer Chris Bush’s personal exploration of otherness and identity.

The reason for the break-up is not a dark secret revealed. Harry (Fizz Sinclair) has never hidden her yearning to escape her male body and Jo (Jade Anouka) – as a place-holder response – has always declared an attraction to women, so what’s the problem?

The writer calls on her own experiences coming out as trans to inform a script rich with frail humanity, grief and laughter.

One of the joys of director Ann Yee’s production is the four-strong chorus (Danielle Fiamanya, Laura Hanna, Beth Hinton-Lever and Serena Manteghi). They provide a sumptuous cacophony of well-calibrated, well-meaning voices, while occasionally bursting into snippets of siren song.

They become the friends who judge-don’t-judge the former golden couple. They are the bumptious official who can’t understand why the paperwork doesn’t tally, the fertility doctor with grim news, the HR woman tiptoeing around preferred toilet arrangements.

With a brisk and delightful energy, these vignettes of love, confusion and bureaucracy spill and elide and crash into one other. At pace, Jo goes crazy, drops out, and finds new love up a mountain with Gabby (a hoot, as played by Amanda Wilkin). Harry drifts aimlessly in a twilight world, not one thing or another.

On a rare trip out Harry is harassed by a man at a railway station. She is ill-equipped to cope, having no hinterland, and feels the experience “violating and validating”. Her girlfriends ask why she would opt for all that, the burden of the female sex, as if it were a lifestyle choice. Even then, Harry can’t join them on a protest march against gender violence because it’s not her story. Meanwhile, her exasperated mother (Jackie Clune) suggests she might like to switch back for a family wedding because “it’s not all about you”.

Jade Anouka and Fizz Sinclair perform wonders in their roles. Anouka is a bundle of nervous energy – and a devil on the dancefloor – while Sinclair carries a certain pained stillness, facing upheaval with the stoicism of necessity.

The end of the first act leaves both partners facing monstrous change. Jo is reluctantly pregnant and Harry about to pursue an irreversible course of hormones.

The beginning of the second act goes somewhere else entirely. They become literal monsters. We are in a fever dream cocoon where the misfits come to resolve themselves.

In a somewhat jarring sequence, Jo becomes a robot with a baby-filled silver cloche for a belly. She is alien to Gabby and to herself. Harry, thrashing in the shallows, is a fish-woman, caught in the net of some 18th century natural philosopher and put on show for the gawpers and prodders. While visually striking, it is an odd excursion, and we particularly feel the absence of Anouka’s jittery powerhouse presence. When they return to themselves, it’s a relief.

This is a jaunty and compassionate production, brilliantly designed and lit (Fly Davis and Anna Watson) and elevated by crisp direction and staging. The cast captures the glorious mess and majesty of change with impish relish and the production does an important job giving character to a story frequently lost to ranting headlines.

Chris Bush says this play has been a decade in the making and a lifetime in the preparation. Fortunately, no-one else has to wait that long.



OTHERLAND

Almeida Theatre

Reviewed on 20th February 2025

by Giles Broadbent

Photography by Marc Brenner

 

 

 


 

 

 

Previously reviewed at this venue:

WOMEN, BEWARE THE DEVIL | ★★★★ | February 2023

OTHERLAND

OTHERLAND

OTHERLAND