THE GAMBLER
Coronet Theatre
★★★★
“a vital and dramatic production that draws us out of our comfort zone”
Fyodor Dostoevsky wrote his short novel, ‘The Gambler’, under pressure to repay gambling debts. Originally set in a hotel and casino in an unnamed German city, the themes inevitably reflect his own life and his own addiction to roulette. He even bet the publishing rights of all his past and future works, wagering that he would complete the novel within thirty days. He did manage to finish the book in time, but the success of this particular gamble shouldn’t detract from his powerfully cautionary tale.
Criticised for being rushed out and for not being as polished as his major works, it was also lauded for its honest description of addiction, focusing on repetition and loops of behaviour. This is the core that the Kyoto based company, Chiten Theatre, have grasped on for their unique and intensely stylised interpretation of the story. To reap the full benefit of this production, there are two bits of homework to do: become familiar with the synopsis and brush up a little on Japanese culture and its social fabric. The former is easy – it’s a short novel but failing that there are plenty of summaries on the internet. What is more difficult, however, is understanding and adopting the mindset of the creators of this piece of theatre. But once achieved, one’s enjoyment of the show intensifies immeasurably.
All things aside, director Motoi Miura’s staging is visually stunning. Itaru Sugiyama’s set is a roulette wheel that revolves while the ensemble cast are grouped around a table at its centre. As it turns, they break away, moving with choreographed precision. Sometimes it is beautifully fluid, sometimes bizarrely jagged. The entire show is underscored by the pulsing sounds of experimental rock trio, ‘kukangendai’. It appears fragmented and chaotic, yet we sense that there is some sort of purpose. The actors seldom speak to each other, instead addressing the audience. In Japanese, the surtitles are like soundbites. Some are more poignant than others, but all are quite pertinent. Translated by Ikuo Kameyama, we are given a sense of the story, and I guess it is up to our emotions to fill in the rest.
The main problem is that there is a lot of sensory overload. Repetition is key – but it has been taken to its extreme. The delivery is a high decibel monotone and the constant banging of the table to punctuate the lines eventually grates. We do see the various personalities, however. Takahide Akimoto stands out as the central figure, Alexei, consumed by his gambling and also consumed by the opposing feelings of anger and resignation his addiction triggers. Midori Aioi is charismatic as love interest Polina, displaying a cool detachment towards Alexei. Satoko Abe as ‘Grandmother’ – the wealthy, elderly aunt who loses her fortune – injects some much-needed humour into the piece, displaying some remarkable physical agility. Each of the cast has an individuality but more often than not we only see the ensemble working as one machine. Whilst this isn’t a fault, it does distance us from any real emotional involvement.
The structure is perfect, though, for the simple plot. Basically, the eponymous gambler – Alexei – bets, wins, loses, promises to stop, then returns to the roulette table. The show fixes (fixates even) on this loop and we feel trapped within it. It is slightly disturbing and uncomfortable, a little too long, but ultimately powerful. Like the subject matter, the play itself lures us in then ensnares us. We breathe a sigh of relief when it is over but some part of us feels the temptation to give it another go. In that way it is extremely clever. It is a niche experience and will probably suffer from its narrow appeal, yet it is a vital and dramatic production that draws us out of our comfort zone. It might not be to everyone’s taste but it’s definitely worth taking a bet on.
THE GAMBLER
Coronet Theatre
Reviewed on 5th February 2026
by Jonathan Evans
Photography by Shotaro Ichihashi
