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It is not advisable to dissect a past relationship with your ex. With twists and turns keeping the audience engaged, Chekhov’s Dildo is a compelling exploration of power dynamics and consent. Summary
Rating
Excellent
Walking into the Hope Theatre, charming love songs blast out of speakers, setting the mood. Annabel (Olivia Barrowclough) and Rufus (Ruaridh Aldington) are asleep in a bed that’s reminiscent of Tracey Emin’s artwork. An impressive number of novels and plays are littered on the floor, as well as a double-ended dildo the size of an arm. Above the bed on the wall is a quote attributed to Anton Chekhov: ‘if you introduce a dildo, please use it. It’s wrong to make promises you don’t mean to keep’. Of course, Chekhov actually referred to a gun and not a dildo.
Chekhov’s gun is a dramatic principle which states that every element in a story should be significant and necessary: nothing should be included unless it serves a purpose. Thus, if a loaded gun is introduced in the first act, it must go off by the end of the performance. This theory emphasises the importance of economy and focus in storytelling, and helps to avoid confusion or lack of payoff for the audience. Writer Rex Fisher cleverly and comically adapts this concept in his play.
Chekhov’s Dildo follows ex-lovers Annabel and Rufus as they navigate the complexities of their past romance. Annabel is a former student of Rufus, a linguistics professor on the verge of being granted tenure. As their seemingly unplanned encounter progresses, Annabel starts to question whether they were ever truly a match.
The witty play suddenly becomes sombre when we discover what happened during their relationship. Rufus’ thinly veiled arrogance and misogyny begin to show as he lectures Annabel about the orgasm gap and the MeToo movement. We learn that Rufus has a tendency to sleep with, and subsequently dump, several freshers each year.
The nuanced exploration of consent and power dynamics are convincingly presented by Barrowclough and Aldington. Their chemistry is undeniable and they give a powerful and memorable performance, captivating the audience. Leaving the theatre, with a gifted sachet of lube, you will continue to contemplate their relationship.
At a running time of fifty minutes, the play is short but substantial. It is satisfying to count how many Chekhov references you pick up on. The obvious ones are Rufus sickeningly referring to Annabelle’s vagina as her ‘cherry orchard’ and the seagull hanging from the ceiling above the bed. However, it’s not essential to understanding the plot.
Chekhov’s influence on literature and theatre can still be seen today, even in bizarre and innovative ways. Forget Chekhov’s gun, it’s all about his dildo.
Written by: Rex Fisher
Produced and Directed by: Merle Wheldon-Posner
Designed by: Maia Frateantonio
Chekhov’s Dildo plays at the Hope Theatre until Saturday 18 February. Further information and bookings can be found here.
