Deeply relatable, remarkably crafted and rooted in reality.
Rhinoceros was originally written by Eugène Ionesco in 1959. Based on his personal experience of dissenting Nazi propaganda and bursting left-wing disbelief of the growth of fascism. The play is already rich with symbolism, metaphors and satire. It makes a mark not just with the doyens of theatre who have come together for this production. Hayley Carmichael, Paul Hunter and Alan Williams bring effortless wit and candour to their roles. Director Omar Elerian walks the tightrope of bringing humour in recreating the everyday. He also brings into sharp focus the political reality in our everyday interactions. The crowd engagement tools offer a live example of how and how much humans are willing to follow. Movement Director: Toby Sedgwick marries the absurd with the surreal. The play with the layers of language demands a rewatch for its dual meanings and deeper themes. One cannot miss the simple and symbolic use of the Watermelon. John Biddle’s par excellence musical choices throughout the play, especially the music during the interval and climax, raise the stakes higher. His shifts from acting to musician in a beat are also hilariously executed.
The characters of the play tinker with their primordial integrity of humanity. Expressed as fear, FOMO, and ideological contagion, it’s tinged with laughter. The ‘play’ with the audience and involving the audience with the Kazoo adds to the laughter and spontaneity. In moments, a farce, in others, a poignant reflection of the symptomatic reactions to our times. The play holds scrutiny of the collective psychosis that humans fall prey to propaganda in the past and present. The absurdist comedy feels unpredictable, grounded and exceptional.
Joshua McGuire’s playful caricature of one’s favourite but disengaged friend is very satisfying to watch. BAFTA nominee Ṣọpẹ́ Dìrísù spectacular performance holds our tiredness and our loneliness. While trying to navigate this absurd world with its shape-shifting reality, his determination not to surrender is chilling. Anoushka Lucas part nightingale and very real emblem of us on the tipping edge, is very sophisticated and transforms the traditional imagination of her character Daisy. Sophie Steer’s presence on stage is bewitching, from her red gloves to her gaze. My grouse, if any is the lack of collective imagination of dissent. Rather than resting on the shoulders of one protagonist could we interrogate how caste, class, race, gender and privilege makes it easier for some to not surrender.
There is a constant suspension of reality through the innovative use of props and improvised musical instruments. Since 2013, the Almeida has been curating unforgettable West End transfers. Each being more powerful than the other. One expects nothing less from the team and hopes this timely production travels far and wide.
Reviewer: Anisha Pucadyil
Reviewed: 2nd April 2025
North West End UK Rating:
Rating: 5 out of 5.
Playing Tuesday 25th March – Saturday 26th April 2025
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