Review: Rhinoceros - The Royal Court

[Karl's Imposter]

Conformity is the subject and Martin Crimp’s fresh translation successfully re-enforces the point of the original text, immersed within a set that does it justice as we would expect (considering today’s technology) and there’s no expense spared. In an era of increasing apathy and effective media hype, there has never been a better time for a revival of Ionesco’s Rhinoceros.

Those who had whet their appetites on The Lesson at the Old Red Lion (still on tour) will gorge on this, the main dish, with treats such as Benedict Cumberbatch’s Berenger, who strikes a cross between Vincent Cassel and Martin Freeman - laid back, then annoyed, amorous then desperate, as he struggles to comprehend why the stampede of bulldozing pachyderms gain still greater weight and lean closer in. Then there’s Jasper Britton’s Jean, practically stealing the show as he defends a transition to become one of the herd, leaving a certain leathery taste in Berenger’s mouth. Under Dominic Cooke’s direction the absurdity doesn’t let up and the audience is denied any mercy: with illogical logic, overlapping lines and simultaneous conversations, nobody is allowed even the time to scratch their heads or pat their satiated brains. The production is simply brilliant.

However, it’s not all four-footed horny fun. The infrequent rumbling of a “stupid quadruped” creates a distinct uneasiness in the air, reminding you of Ionesco’s point – how many of us would run with the crowd, without thinking? Would you agree with my point of view, or would you prefer to watch the piece and make up your own mind? I’ll think you’ll agree, the play is brilliant. No, really, lots of people say the same thing. You will too.