Review: Charlie and Striptease, Golden Goose Theatre

This double bill production of Charlie and Striptease is truly ‘hovering on the borderline of definition’. In Orsolya Nagy’s (Director and co-producer) hands, Sławomir Mrożek’s original writing is brought to life with disturbing absurdity and reflection. Charlie (Act 1) and Striptease (Act 2) each provide rich insight into humour often deployed to survive the trauma of oppressive regimes in Eastern Europe. The stark depictions of realities of containment and imprisonment – physically, mentally, and emotionally – and survival are dramatised in surreal, Daliesque scenarios. 

The black box environment of Golden Goose Theatre is spacious. Lighting by Matthew Biss is unadorned for these challenging portrayals of human inconsistencies and ultimately, absurdity. The lighting within the technical booth is distracting by shining partially within the eyeline of the main audience, the purple hue creating unwelcome contrast to the production space. 

Charlie is set in a traditional oculist environment, complete with eye test chart, antique furniture, and a richly encased sofa. The three-hander demonstrates the commitment of Rowland D. Hill (oculist), Simon Brandon (grandson), and Kenneth Michaels (grandpa). . . and a double-barrelled shotgun! As the audience, we are thankful that the premise requires the target “is recognised before shooting”; we are not Charlie. Reflecting both past Soviet history and the current chaos magma flowing from the USA, it provides acerbic commentary to the absurdity of people. 

The language is precise, nuanced to reflect human biases. References to literacy, assumptions based on privilege, appearance, and affordability remain as relevant today as 60 years ago. Occasionally, voices are raised so significantly that they reverberate in the space, causing the audience to recoil before recovering and engaging. There is an endearing and vulnerable portrayal of a seemingly innocuous oculist (Hill) that morphs both in language and behaviour as the piece is revealed. Poignantly, the impact of dirty windows, which preclude clarity and generate potentially false views, is both tender and terrifying. 

Striptease, with its conceptual incarceration, is beguiling. The nuance of language exploring philosophical perspectives, intentions, and outcomes is both witty and sinister. Phrasing exploring the balance of walking versus hurrying encourages the audience to be present in daily activities. The perceived certainty of facts being tangible (for example, house, family, work, routine) are challenged by the uncertainty of external factors. 

There is wonderful investigation of the meaning of ‘freedom’. The rationalisation of action versus inaction, power, and control are deftly explored. The slapstick portrayal is wreathed in heart-rending philosophical rationalisation of internal versus external freedoms. How we each define freedom, choice, limitation, and forcing boundaries that may be imagined, fact, or indeed both is compelling. There is both a naivety and sophistication to each of these pieces that co-habit in this production. 

The use of silences, movement, and perceptions of professionalism, trust, truth, and reality are vividly depicted. Each piece encourages reflection, laughter, and challenges perceived norms or realities and the intentionality of each choice and consequence. The shows would each benefit from taking a little more time, allowing a slightly slower pace, allowing us to enjoy each syllable and understand the lack of boundaries in absurdity and the joy of such careful investigation. 

Both shows demand focus, concentration, and reflection. It is a privilege to actively engage in these pieces and appreciate the irony and pragmatism in exploring perceptions, captivity, and freedom in such eloquent yet stark contradictions. Dramatic treatise of humour, bias, choices, and perceptions – delicious!

Directed by Orsolya Nagy
Produced by DRH Arts and Orsolya Nagy
Lighting Design by Matthew Biss
Technical Operations by Keegan Goodman

Charlie and Striptease plays at the Golden Goose Theatre until Saturday 9 May