Hilarious, heartwarming and obviously absurd, Rhinoceros is currently on a run at the Almeida Theatre in Islington.
Rhinoceros’ don’t lend themselves to intimacy, but the small room that is the Almeida Theatre was somehow the perfect setting for Eugene Ionesco’s absurdist play.
Jean (About Time’s Joshua McGuire) and Bérenger (Gangs of London’s Ṣọpẹ́ Dìrísù) have their friendly catch up rudely interrupted when a rhino runs through their picturesque french town.
Bérenger struggles to maintain his identity when his neighbours and co-workers start mutating into rhinoceros’ around him.
Ionesco’s play explores Bérenger’s unwillingness to conform, and the foolishness of following the herd.
Historically, the play outwardly commented on the ease of fascism’s spread through Europe in the 1950’s.
Here, not so much.
The bright white, empty set was almost a colouring book, telling the audience: You fill in the blanks.
Joshua McGuire (Jean) told The Guardian: “You can read it as a comment on social media and how we can become indoctrinated to follow the crowd, even if we don’t initially agree with where we’re going.”
Away from political commentary the play was fun, with laugh out loud moments, distinct characters and audience interaction the way it should be done.
So, if you’re sat in the front row then make sure to don your best rhino costume.
The stand-out, however, was the sound.
Not just an ensemble of kazoos in the auditorium but the cast creating their own foley sound effects on the side of the stage was incredibly effective.
Mics loomed over everyday objects that were hit, battered and scrunched to create the perfect soundscape.
Language is given a relatively minor role in the production, but the performance, narration and sound excel.
You seem to forget the two hours of laughter upon Bérenger’s ultimate rejection of society as the finale, when it all becomes real.
It would have been enjoyable if Bérenger’s outburst and unwillingness to conform usurped the curtain call and abruptly ended the performance, nicely tying in the non-conformity into the ‘meta’ nature of the performance.
However, it is understandable everyone wants their plaudits and standing ovation, and it was no less than they deserved for a great production.
Tickets are available until 26 April.
Feature image credit: Marc Brenner
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