Review: Rhinoceros, Almeida Theatre

Written in 1959 by Eugène Ionesco, Rhinoceros is an exploration, through a surreal and absurdist situation, of the human desire to either conform with the common viewpoint or stand against it. For this new adaptation, director Omar Elerian has enhanced the surrealism by giving the characters/actors (the lines are often blurred) a self-awareness that they are in a theatre production which they sometimes question.

This playful approach is introduced right from the start, with a cheerful narrator (Paul Hunter) welcoming the audience and gently explaining the concept of conformity by reminding us of theatrical etiquette. The narrator then introduces us to Berenger (Ṣọpẹ́ Dìrísù) as he meets his friend Jean (Joshua McGuire) in their local café, with some disagreement between them all about whether the play is meant to be set in France. The unexpected appearance of a rhinoceros charging through town, soon followed by further sightings, is understandably concerning. An eclectic array of Berenger’s friends and colleagues are brought to life by John Biddle, Hayley Carmichael, Anoushka Lucas, Sophie Steer and Alan Williams; each of them is given an individual moment to shine. The mystery of where so many rhinoceroses are coming from is quickly solved; there is an outbreak of people transforming into them. The friends take differing views on whether the transformation is something to fear or embrace; might life be simpler as a rhinoceros?

All aspects of the production reflect and enhance its playful nature. As the narrator reads the original stage directions for set layout and character costumes, the actors/characters are bemused by how little their own designs (by Ana Inés Jabares-Pita) resemble these descriptions. The central stage is a stark white platform with a few chairs used to represent the café, office and homes Berenger visits. The cast draw the outlines of various rooms and buildings, confusedly looking around for furniture which is described but not present, before resignedly miming the use of doors and various props. The early costume choices highlight Berenger’s distinct, non-conformist personality; his perfectly normal contemporary clothing contrasts with everyone else curiously wearing a uniform lab coat, exaggerated hairstyle, and brightly coloured shoes. 

A symptom of rhinoceritis is that a person’s voice alters, which is creatively brought to life by having multiple actors (in identical costumes) playing the same character simultaneously. The destructive chaos caused by the rhinoceroses is effectively conveyed by the cast performing synchronised galloping or other movements, accompanied by earth shaking sound effects and dramatic lighting by Jackie Shemesh. Kazoos are used to mimic the animals’ distinctive vocals.

Both tense and comedic moments are often enhanced by a live piano performance by Biddle, who must keep looking up to check how long to continue playing whilst the cast slowly exits the stage. Under the direction of sound designer Elena Peña, the supporting cast frequently double as foley artists, using a variety of tools to create a range of sound effects from workbenches on the sides of the stage. When Lucas showcases her impressive singing talent with an extended song in Italian, the captions reassure the audience that we don’t need to fully understand a song to appreciate its splendour. This is a sentiment which could also be applied to the play (and theatre) as a whole.

This is a hugely entertaining production, and the cast are clearly having fun as they bring the ever more outlandish events to life, with Dìrísù passionately conveying Berenger’s determination to maintain his individuality. There are a lot of surprises to be experienced as the audience is involved in both helping to present the story and consider its message of free will.

Written by Eugène Ionesco
Translated and directed by Omar Elerian
Set and costume design by Ana Inés Jabares-Pita
Lighting design Jackie Shemesh
Sound design by Elena Peña
Movement directed by Toby Sedgwick
Music directed John Biddle

Rhinoceros plays at Almeida Theatre until Saturday 26 April.