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Camden Fringe 2023
A Russian businessman seeks to buy some serfs – dead ones – in this eclectic feast of Gogolian silliness. Summary
Rating
Excellent
In Tsarist Russia, our protagonist Chichikov (Nico Taylor) hatches a plan to profit off serfs who have died but not yet been registered as such. Originally written by Gogol, adapted by Bulgakov and translated by contemporary writer Illya Khodosh, this story satirises businessmen, the nobility, and the overall ridiculousness of society. The Eno River Players bring the tale to the Camden Fringe freshly imbued with campy ridiculousness.
The cast (Hamzah Jhaveri, Dominic Sullivan and Taylor) are a charismatic collective, delivering comedy through a wide range of accents and mannerisms with high energy throughout. Jhaveri is a standout, bringing a level of campiness to an originally Russian story that I have not seen in other adaptations, but which is excellently suited to the show. Director Leo Egger gives a frenzied energy to Chichikov’s journey, however characterisation remains strong and impactful throughout, with the cast exhibiting remarkable cohesion despite the small venue and fast pace of the show. This is eccentricity and absurdity done masterfully.
The production is embellished with wonderful props: comically large pencils, portraits of nobility, and a cardboard cut-out thundercloud complete with rumbling sound tube. Signs are painted in a delightfully quirky style, with simple yet effective labels such as ‘WINE’ or ‘SAMOVAR’. Costuming is brilliantly silly, including multi-roling by means of hat swaps and a character’s brother-in-law played by a sock puppet. Everything is over the top in a wonderful way, and this matches perfectly with the sense of ridicule that Gogol creates in his writing.
Use of tech adds depth to the performance, with moments of tension highlighted by red lighting and monologuing. Vocal performances are used to create an emotive atmosphere and at other times for laughs, including a surprisingly fitting rendition of ‘Valerie’. It is elements such as contemporary songs, sportswear and campy gestures that make this production feel fresh and engaging; it may be a 19th-century story, but the satire of business and power remains a relevant theme. There is a sense of shock and strangeness in the merging of an old narrative with contemporary culture, to a highly positive effect.
Towards the end of the production the energy suffers a slight lull; where the first hour of the show is filled with thrills, it appears difficult to marry this with discussions of a historical Russian legal system. Nonetheless, the performance culminates with circularity, echoing its opening with music and reference to the Rome skyline. This show is heavy on the comedy, but still manages to deliver scenes of refinement and convey Gogol and Bulgakov’s mockery of the administrative system.
Dead Souls is a highly enjoyable production which boldly grasps the essence of comedic chaos set out in the novel. It is clear that props, costume, and direction have been well considered and crafted, and the cast are equally strong. Given the subject matter – business transactions surrounding serfs – the Eno River Players do an excellent job of capturing this story and indulging in its weirdness. It’s a great night out regardless of whether your usual entertainment involves Russian literature.
Directed by Leo Egger
Written by Mikhail Bulgakov
Based on the novel by Nikolai Gogol
Translated by Illya Khodosh
Produced by: The Eno River Players, The Yale Bookends
Dead Souls has completed its current run as part of this year’s Camden Fringe.
