Martin Esslin coined the term “the theatre of the absurd” to mark the plays of Ionesco, Samuel Beckett, Jean Genet and Harold Pinter, where they may have not necessarily seen themselves cojoined.
As the writers and indeed the players all grappled with a post war malaise and disruption of the 1940s – 50s and into the cold war. Are we not here again, post-Ukraine, post Trump, pre referendum and in amongst the climate crisis living large in the record-breaking heat, floods, fires and threats of all in the everyday. Can we not also feel the very way of the Absurdists originally; right now?
The play begins before the play as the residents in mop cap and nightwear traipse a usual path around their world and each other, until he, her poopsy pet gets too close to the window and she his darling Semiramis identifies the danger. To us if not to him, it’s more than the mosquitoes.
The one old man and one old woman played with flawless energy and enthusiasm by iOTA and Paul Capsis. Each is brilliant in their madness raising, survivor mode. Pushing and prodding each other to keep on going – it would seem when all hope is lost. Then the dance of the “February”, a vaudeville style schtick routine amidst a crazed laughter track that is actually coming from Paul’s own vocals.
Our survivors are existing in a water isolated land lock, where guests and the elegant arrive unseen by boat. His majesty, the admiral, the list enlarges, they never lose their place and an ever-increasing race to seat all before the orator speaks – The chairs, we have two more guests and need one more chair. Not one of these guests can actually be seen except in the very focused interactions of the old man and old woman. With affectations and intimations and real raunch appropriations. The audience is ready for whatever comes next. The alarm has raised the speech to end it all. Yet we will never be ready. And then so it ends but I have a feeling they are caught in a conundrum, and it will start all over again.
A most creative space designed by Brian Thomson, special effects lighting creatively illuminated by Benjamin Brockman in the tight space that is the old Fitz Theatre. And costumes by designer Angela Doherty are perfect!
If you wish to make sense of the madness, then you must see this.
Brilliantly directed by Gale Edwards, and performed brilliantly by Paul Capsis and iOTA, Eugene Ionesco’s THE CHAIRS is playing the Old Fitz Theatre, corner Dowling and Cathedral Street until the 15th October 2023.
http://www.redlineproductions.com.a
Production photography by Phil Erbacher
Reviewed by Elizabeth Surbey