Tag Archives: Anoushka Lucas

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

Elephant

Elephant

★★★★★

Bush Theatre

ELEPHANT at the Bush Theatre

★★★★★

Elephant

“Lucas’ script is beautiful. It is subtle and thoughtful and surprisingly funny.”

This urgent and compelling one woman show bursts onto stage with joy and with unapologetic nuance and complexity.

Writer and performer Anoushka Lucas combines live music and performance in a show which calls itself ‘part gig, part musical love story, part journey through empire’.

The play flickers between the late 1990s and late 2010s dipping into vignettes of protagonist Lilah’s life, which explore her relationship with music, race and class. These are interspersed with live songs played by Lucas on the slowly spinning piano in the centre of the stage.

Lucas’ script is beautiful. It is subtle and thoughtful and surprisingly funny. Through dissecting the historical origins of the piano and sorting through her own life, this character finds truths about the way she has been treated, and society’s tacit complicity in that. It is at once scorching social commentary and personal soul searching. The language, particularly in a motif about the butchery of elephants in the ivory trade, is startling and haunting.

“The music has a quiet lyrical beauty”

Director Jess Edwards, who also developed the piece with Lucas, makes consistently striking choices. The play is in the round, creating an intimate and conspiratorial tone. As well as creating light and shade through words and song, there are moments of physical theatre. While voiceover (by sound designed XANA) plays of Lilah’s auditions in the music industry, she morphs herself into forced shapes, using the piano as a tool to flatten herself ever further. Her extreme physicality underpins the harshness of the words.

As Lilah narrates her life she embodies her younger self, full of naive and confident enthusiasm, as well as her more reserved adult self, afraid of coming off as weird. It is a challenging performance, one which requires deft handling of emotional and physical shifts, and Lucas thrives in it.

The music has a quiet lyrical beauty. At times in comparison to the strength of the prose it leaves something to be desired. But it’s a beautiful way to break the narration and Lucas pours her soul into it.

Georgia Wilmot’s set design is masterful. The centre of the stage is a pit, with a piano and a small bookshelf. Lucas is able to clamber over these as well as play the piano. The pit itself slowly spins during the musical scenes, adding an ethereal beauty to the music.

The lighting design, by Laura Howard, is soft and pastel toned. Paper lampshades hang in the audience, glowing blue and pink, and flicker with the notes of the piano. There is a shimmering orb of coloured light which surrounds the pit, and pulsates in time with the music. It is rare to see lighting design that feels so fresh, and so exciting, while remaining tonally in keeping with the piece.

Elephant is a love story and a coming of age and a call to arms. It is a realisation of silencing and the power of speaking out. It is searing, and powerful, but strangely uplifting.


ELEPHANT at the Bush Theatre

Reviewed on 19th October 2023

by Auriol Reddaway

Photography by  The Other Richard

 

 

 

 

 

Previously reviewed at this venue:

Red Pitch | ★★★★ | September 2023
Paradise Now! | ★★★★★ | December 2022
The P Word | ★★★ | September 2022
Favour | ★★★★ | June 2022
Lava | ★★★★ | July 2021

Elephant

Elephant

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