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An ambitious, surreal and intense exploration of Binge Eating DisorderSummary
Rating
Good
Today, maintaining a healthy relationship with food seems rare. Aggressive marketing campaigns, addictive recipes, scarce healthy products, and relentless societal pressures about our appearance and diet make it feel as though the food industry is out to get us. That’s why exploring eating disorders is not just relevant but essential.
Hole, directed by David Fairs and Conor O’Kane and based on a play by Hannah Morrish, delves into the complex emotions associated with Binge Eating Disorder. Hole, played by Matsume Kai, receives her diagnosis in “a strip-lighted, white-walled, disinfectant-smelling room”. As she confronts her feelings about her disorder and herself, she discovers a literal hole in her stomach. Guided by a child, she unlocks this hole with a key, and they crawl through it, venturing into her deepest self.
The directors make clever use of the minimalist set, transforming the stark white space into various metaphorical landscapes of Hole’s psyche. The scattered mannequins serve as both props and silent observers, strategically positioned as if watching Hole’s journey. Their eerie presence is amplified by nearby neon lights or those carried by them, creating an unsettling atmosphere that mirrors Hole’s internal struggle. The lighting, expertly manipulated, creates distinct atmospheres for each scene, from the clinical coldness of the doctor’s office to the surreal warmth of childhood memories.
Kai demonstrates remarkable versatility, smoothly transitioning between characters such as Hole, the child, her mother, and an elderly professor. Her energetic performance brings both humour and poignancy to the play. Kai’s physicality is particularly noteworthy, as she utilizes every inch of the stage, from crawling through imaginary tunnels to scaling the set pieces, embodying the internal struggle of her character.
However, at times her intensity overshadows the dialogue, making it difficult to follow. For instance, her loud reaction during the revelation of a hidden memory made it impossible to understand what the memory was. Additionally, in an emotional moment, she climbs among the audience and whispers something, but the volume was so low that I couldn’t make it out. These moments suggest that the direction might push the actor too far at times, sacrificing clarity for emotional impact.
Despite these issues, the play is undeniably ambitious, grappling with complex themes such as self-worth, family dynamics, childhood, and body image through rich metaphors. The production creates a Lynchian atmosphere with its stark white set, scattered mannequins, and neon lighting that enhance the surreal aspects of the play. The intelligent use of set, audio, and lighting design effectively builds tension and supports the narrative’s dreamlike quality. Bookending the play, Hole’s costume changes carry symbolic weight. She begins by removing traditional garments and concludes by donning typical London attire. This transformation suggests a shedding of past trauma and a cautious step towards self-discovery, offering a glimmer of hope without oversimplifying the complex issues explored.
Hole bravely delves into the complexities of Binge Eating Disorder, with Kai’s versatile performance at its core. While it may not fully realize its comedic billing, the play’s innovative staging and poignant costume symbolism offer glimpses of truly transformative theatre. Despite occasional clarity issues, Hole remains a compelling, thought-provoking piece that challenges audiences to confront uncomfortable truths.
Written by: Hannah Morrish
Directed by: David Fairs & Conor O’Kane
Produced by: Matsume Kai
Hole has completed its current run at Old Red Theatre.
