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ZOO Southside – Main House
Christoffer Hvidberg Rønje gives an unforgettable performance in this Danish white-collar crime thriller. Summary
Rating
Excellent
A young and ambitious tax lawyer (Christoffer Hvidberg Rønje) becomes embroiled in a multi-billion scam, at the expense of various governments around Europe. We follow him closely through his rise and fall, watching his lengthy demise whilst a prosecutor tries to coerce him into becoming an informant.
This isn’t the work of fiction of a politically engaged playwright, but Anna Skov Jensen’s dramatised take on the ongoing international investigations into the CumEx-Files, which robbed several European countries of an estimated 63.2 billion US dollars in tax rebates. A by-product of the financial liberalism introduced in the 80s by the likes of Margaret Thatcher, this illegal scheme left national treasuries wide open to the abuse of ruthless business operators, who spotted the potential for a loophole.
Despite the intricate subject-matter, one doesn’t need to be a socioeconomics geek to appreciate the unfolding of this nail-biting thriller. Even though I had never heard of the scandal before, I was entirely kept on board by the in-depth explanations that are integrated into the action with sleek accuracy.
Hvidberg Rønje’s stellar performance is an enthralling fusion of stamina and panache. He simultaneously exudes the upscale elegance of a city worker and the faltering mental stability of a hustler who has blurred the lines of legality one too many times. Signe Krogh’s ingenious design confines him to a Perspex cube, whose appearance mutates with masterful use of lighting and video mapping.
As if this weren’t enough, the whole sound is devised in 3D and delivered to the audience via binaural headsets. The actor wears a discreet microphone that enhances his voice and overlays it with other sound effects. A climactic scene in which the unnamed main character goes to Dubai after the successful conclusion of his first deal, is an arresting display of the many pioneering features in this production.
My only criticism is that for binaural sound to work effectively, proper noise-cancelling headsets are essential. This is not an easy feat, especially at the Fringe, but can make a world of difference. I say this because the person sitting behind me made noise throughout the sixty-five-minute running time and really spoiled my enjoyment. Nevertheless, watching this show is like staring at a train that is running at full speed towards a car stuck in the tracks. You can only hold your breath and wait for the imminent impact, while sitting on the edge of your chair. If I had another opportunity, I’d happily watch The Insider again, to better savour the technical intricacies that contribute to making it so unique.
Idea by: Torben Dahl
Written by: Anna Skov Jensen
Directed by: Johan Sarauw
Sound Design by: Peter Albrechtsen, Sun Hee Engelstoft and Marcus Aurelius Hjelmborg
Set and Video Design by: Signe Krogh
Produced by: Teater Katapult
The Insider played as part of EdFringe 2023.
