The polarisation of today’s politics, the rise of partisanship, the monetisation of outrage – for a play written in 1959, there’s possibly no better, more relevant time to stage a production of Eugène Ionesco’s Rhinoceros than right now.
To be sure, considering the maddening state of the world outside, you’d be forgiven for wondering if this new version of the script by Zinnie Harris was written yesterday.
Berenger’s daily life isn’t comfortable at the best of times, navigating various demands, anxieties and calamities of his friends and work colleagues (not-to-mention his own) in a seemingly ordinary village. All is well, until it isn’t with the sudden cacophonous arrival of a stampeding rhinoceros.
The presence of an angry perissodactyla is disturbing enough, but to Berenger’s horror the condition is apparently infectious. One-by-one, despite all precautions and ruminations to his peers and to the audience, those around Berenger transform to become rhinoceroses themselves.
Admittedly, the village’s “seemingly ordinary” status lasts just a few seconds before the ensemble commit gloriously to the first of many bursting up “out ofs” and jumping “down intos” various trapdoors scattered about an otherwise sparse raised stage; the brilliance of the show’s design – Rachel Burke’s lights, Rachel Lewindon’s sound and music, Dann Barber’s costumes, and Jacob Battista’s (with Barber) set – on display from the outset, demand our attention.
At times the tapestry Director, Cassandra Fumi, has woven feels more like circus, as a myriad of absurdist elements are juggled and balanced on each other without ever overwhelming Berenger’s plight and the audience’s capacity to engage with his central story.
Cait Spiker was marvellous as Berenger, navigating her character’s distressed trajectory to a solitary end, but not a desolate one. Surrounding her was a talented and ferocious ensemble cast, including Zachary Pidd with a turn as the Grocer/Grocer’s Wife/Botard that was simultaneously belligerent and beautiful, as was Belinda Anderson-Hunt as The Housewife, resplendent in her feline lament. Alexandra Aldrich stepped into the role of Old Gentleman/Mr Papillon for opening night and delivered a consummate performance.
James Cerché and John Marc Desengano played their respective roles of Jean and Logician/Dudard with an amusing mix of bluster and stubbornness that only became more hilarious when it crumbled so easily. Jessica Stanley stalked over the stage in tremendous fashion as Daisy, along with a wonderful performance by Annabelle Tudor as a compelling and capricious Café Owner/Mrs Boeuf.
A scintillating effort by Spinning Plates Co. and a well-timed reminder of the necessity of empathy, heart, and connection.
RHINOCEROS
fortyfivedownstairs theatre, 45 Flinders Lane, Melbourne
Performance: Friday 1 November 2024
Season continues to 17 November 2024
Information and Bookings: www.fortyfivedownstairs.com
Image: Belinda Anderson-Hunt, Jessica Stanley, Annabelle Tudor, Cait Spiker, Zachary Pidd and Alexandra Aldrich in Rhinoceros – photo by Darren Gill
Review: David Collins