INTERVIEW

Riverside Studios

★★★

“a technological marvel with a political and social edge”

Interviews are a game and interviewers hold all the cards… right? But what if someone changes the rules? ‘Interview’ explores the nature of perception, truth and controlling the narrative in this technologically brilliant battle of the sexes. Though for all its tricks, it lacks punch.

Adapted and directed by Teunkie Van Der Sluijs, ‘Interview’ is a story of turning assumptions into ammunition. Katya, social media star turned actor, is tired of the world editing her narrative and arranges an exclusive interview so she can finally be ‘seen’. Her reluctant interviewer, Pierre, believes the ‘puff piece’ beneath a ‘senior analyst of international affairs’, though we later learn why he’s fallen from grace. The interview is a power struggle, each fighting for control. One wins. Though at what cost.

Produced by Douglas Denoff and based on the 2003 screenplay by Theodor Holman and film by Theo Van Gogh, Van Der Sluijs’ adaptation brings this commentary on the power of perception partly up to date. Katya’s social media prowess is evident in her word-perfect livestreams and adept cinematography. In fact, her curated self is the perfect foil to the transparency she claims to seek. Meanwhile, Pierre’s downfall is ego and privilege, made all the more stinging by today’s age of self-awareness. However, I take issue with the gender dynamics. Katya’s character relies on tired tropes, such as the manipulative, vengeful woman whose sole aim is to bring down a man she’s just met. It makes her less believable and is rather disappointing given how fresh other elements of the adaptation feel.

Van Der Sluijs’ direction ingeniously uses social media to create dramatic irony. Phones are a pervasive third party, creating a secret window into Pierre and Katya’s private worlds and revealing things they would rather hide. In fact, the tech is fantastic. The seamless combination of set (Derek McLane), lighting (Jackie Shemesh), video (idontloveyouanymore) and sound (Ata Güner) allows messages and notifications to pop up in real time on the rear wall of the stage, perfectly capturing the feel of our digital world (including how it can be overstimulating at times). Sometimes the actors themselves are projected, and this strategic shift from actors to images heightens the disconnect between reality and social media. A truly impressive and masterfully executed collaboration.

Costume design (Bernat Buscato) drives the narrative, as Katya’s continual changes contrast with Pierre’s immutable presence. Katya also strips her public persona to reveal increasingly relaxed (and interestingly more covered up) versions, a great nod to the final reveal. The varied soundscape (Güner) mirrors the power struggle, Katya shifting the energy even when Pierre resists.

Robert Sean Leonard as Pierre and Paten Hughes as Katya both give stirring performances. Leonard broods and plots, bringing a gravity that belies his troubled past. Hughes fizzes and disorientates, fluidly flipping through roles and keeping Pierre off balance. A little more slickness would bring out their clashing energies even more; currently, some of the exchanges feel a little sluggish when they should crackle with wit. However, this is early in the run and I’m sure the sparks will fly in time.

‘Interview’ is a technological marvel with a political and social edge. Some elements soar; others stumble. Katya could use a modern edge, but at least she’ll ignite debate on gender and power.

INTERVIEW

Riverside Studios

Reviewed on 28th August 2925

by Hannah Bothelton

Photography by Helen Murray

Recent reviews from this venue:

NOOK | ★★ | August 2025

A MANCHESTER ANTHEM | ★★★★ | August 2025

HAPPY ENDING | ★★★★ | July 2025

DEAR ANNIE, I HATE YOU | ★★★★ | May 2025

THE EMPIRE STRIPS BACK | ★★★★★ | May 2025

SISYPHEAN QUICK FIX  | ★★★ | March 2025

INTERVIEW

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.

Tag Archives: Jackie Shemesh

INTERVIEW

★★★

Riverside Studios

INTERVIEW

Riverside Studios

★★★

“a technological marvel with a political and social edge”