Act 1 DeSales University Theater has staged a thought-provoking and haunting production of Eugène Ionesco's absurdist comedy “Rhinoceros.”
Unsettling and discomforting, the compelling play that uses a community transforming into rhinoceroses as a metaphor for people turning to fascism, resonates today.
“Rhinoceros” continues through March 1 at the Main Stage Theatre, Labuda Center for the Performing Arts, DeSales University, 2755 Station Avenue, Center Valley.
The play starts in the town square of a small provincial French village, where Ryan Plunkett’s hung-over and perpetually tardy Bérenger meets his friend Jean at a cafe.
The set design by David Gallo sets the stage in a bucolic French square although the flickering of the projected backdrop by projection designer Kenton Jones, creates a vague sense of unease.
Plunkett’s Bérenger is earnest and likable, even as he is berated by Grace Curry’s self-important Jean for his drinking and lateness - criticisms Bérenger unblinkingly accepts.
At another table a gullible man played with wide-eyed enthuiasm by Jamir Fisher and a logician, portrayed smugly and without emotion by Isabella Marin, discuss absurd logic in platitudes that are echoed by Jean and Bérenger.
When a rhinoceros, and then another, appears – represented aurally only with drums and metal sheets, through effective sound design by Andrew Kopacz, Madeline Ashby and Andrew McGill – the community is nonplussed and falls into endless debate about the events and even whether they really happened, even after a woman’s (a humorous Harley Roach) pet cat is trampled by a rhinoceros.
At Bérenger’ work office, the uptight Botard (a prim and petty Ian Higgins) dismisses the “rhinocerositis” while the intellectual Dudard (a self-assured Owen M. T. LaRue) tries to explain it away. Aligning with Bérenger is Daisy (a kind Mariana Marcel) with whom he is besotted, and who also witnessed the rhinceros.
When Bérenger goes to visit Jean in her home, the tone shifts and becomes more menacing. Gallo’s backdrop and set evoke a more industrial feel as does the accompanying projection by Jones.
In this scene, Curry is impressive and very physical as Jean as she begins to transform into a rhinoceros. According to program notes, performances of this show frequently use shadow puppets or prosthetics to show the rhinoceros herd, but director Jessica Bedford chose to use only the physicality of the actors to convey the transformation, with the assistance of choreographer K. O’Rourke. The decision is very effective and visceral on stage.
LaRue as Dudard’s transformation is also well down and even humorous.
Throughout the play Plunkett capably takes Bérenger through a whole arc of emotional responses, ending with grim determination.
There will be talkbacks with the cast after the Feb. 22 and 23 performances.
The Feb. 21 show will open captioning for patrons who are deaf or hard of hearing and audio descriptions for patrons who are blind or visually impaired. Tickets are half price for patrons using these special services on this date. Call the box office for more information.
After the Feb. 27 show, there will be “Rhinos & Reflections,” a post-show event of reflection and playful nonsense that invites audiences to step beyond the stage and into the strange, but familiar world of “Rhinoceros.” Participate in absurd art and activities, enjoy thematic treats, and reflect on the play’s questions of identity, conformity, and courage.
The production is recommended for ages 13 and up.
Tickets are $23 for adults and $21 for students and seniors Wednesday through Friday, and $27 for adults and $25 for students and seniors Saturday and Sunday.
The Feb. 28 performance is pay-what-you-can.
Performances are 7:30 p.m. Feb. 20, 21, 25, 26, 27and 28; 2 p.m. Feb. 22 and March 1; and 9:45 a.m. Feb. 23.
For information, call 610-282-3192 or go to www.desales.edu.