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A fascinating experiment in theatre that turns the traditional play on its head.Summary
Rating
Good
Nassim Soleimanpour’s White Rabbit Red Rabbit is no ordinary play. Indeed, the term ‘play’ is used loosely here; it perhaps is better described as a theatrical experiment. Each night, a new actor takes to the stage, performing from a script they’ve never seen or read before. What unfolds is a mixture of philosophy, psychology and a test of the boundaries of theatre.
It is important to stress that the play I watched could be very different from the play you go on to see. In order for an actor to perform this playtext, they can’t have previously watched the play, seen the script or have any knowledge of what happens. Innovation and spontaneity become paramount to the actions that unfold, with both the performer and audience members making critical decisions that shape the action.
Without ruining the plot (though I would find it difficult to explain anyway), White Rabbit Red Rabbit locates us in Iran, where Soleiman pour wrote the play, unable to leave the country. Only written 14 years ago, its context is ever shifting given the current world climate. Picture a Darren Brown experiment and a Black Mirror episode mixed together. Heavily leaning into themes of obedience and control, the play poses many philosophical questions: To what extent will the performer stick to the script? Will audience members also follow instructions? How much control do we really have over life and death?
Unlike for most other plays, the creative director Becky Hartnup first greets the audience, explaining the rules of the show and warning us of the dark material that is about to unfold. And yes, this play gets very dark and disturbing, although moments of comedy and witty lines alleviate some of the rising tension. The connection between audience and performer creates an environment where we all share the anxiety of the play’s mystery unfolding.
On the night that I attended, James Burgess graced the stage, appearing slightly nervous yet full of energy. His wit is enthralling and his comedic timing outstanding, offering moments off-script that shared the ‘What on Earth is happening?’ sentiment of much of the audience. Audience participation is central to the performance (a nightmare for us introverts) yet felt too frequent, often interrupting the flow of the action.
The set design is minimal and would benefit from feeling more immersive. The actor himself even poked fun at the two-dimensional painted ladder that makes the titular White Rabbit, Red Rabbit scene seem comedic rather than psychological. Similarly, as for traditional theatre, the audience is seated facing the actor, where instead a circular seating arrangement around the actor would perhaps have more impact.
Whilst the playtext itself is interesting, riddled with metaphor and self-referential lines that interrogate both the writer and performer throughout, in practice it comes across as underwhelming and overworked, relying heavily on shock factor and provocation. That being said, it’s a fascinating premise that is worth seeing purely for the experience of intrigue and the unknown.
A Questors Production in association with Aurora Nova
Written by: Nassim Soleimanpour
Creative Direction by: Becky Hartnup
Set Design by: Gareth Williams
Lighting and sound design by: James Connor
Photography/ Videography by: Robert Bass
Video production by: Finn Hartnup Williams
Red Rabbit White Rabbit plays at the Questors Theatre until Saturday 2nd November. Further information and booking details can be found here.
