Capitol Hill Arts Center (CHAC)
Closes Nov. 6
By Tom Scanlon
All too often, Seattle theater is about minimizing risks; the Capitol Hill Arts Center's Rhinoceros is all about taking risks -- bold, intellectually charged comic risks. Director John Farrage is the chief risk-taker, and most of his moves come off very well, this production being in tight spiritual connection with its great author, that king of verbal gamblers, Eugene Ionesco.
Born in Romania, Ionesco lived in France during World War II, and this play is a comical reflection on the chilling question: "Why would someone turn into a Nazi?" Or, as he metaphorically puts it, into a rhionceros?
Farrage's actors are all intensely committed to this idea; for the most part, they find the comedy in this work by playing it straight, although Farrage gives the cast the freedom to find much in their characters.
Things look a bit dicey in the first scene, which is highly stylized. This can be forgiven, as it involves mostly set-up material (albeit very funny stuff), and as things subsequently settle down, with a growing naturalism that is far more suited to the un-natural material.
Wayne Rawley, best known as one of Seattle's busiest young playwrights (notably, the Money & Run series at Theater Schmeater), proves to be a ferociously good comic actor, investigating every corner of Ionesco's Berenger, who takes a long, slapstick path from lazy drunk to humankind's hero. As his friends and co-workers slowly turn into rhino's, Berenger is consistently tempted to "become one of them," yet somehow finds the inner strength to resist. (Viva la resistance!)
At first, Rawley seems a bit too American: big and blustery, cool in his sunglasses, self-confident even in his despair; annoyed, perhaps, but not afraid of being over-run. Whether intentionally or not (and if intentional, it's quite a genius stroke), he gradually makes a transformation of his own, to a more European teeth-gnashing angst. And so he becomes a true Everyman, transcontinental.
Rawley's supporting cast is right there with him, keeping the level of comic-intensity high. Things really get going in Act II, when James Cowan, as Jean, makes a magnificently funny "transformation." Aimee Bruneau is quite funny as Daisy, who at first seems far more concerned with lunch than being surrounded by Frenchmen-turned-rhinoceri, then gradually is seduced into "going over." Basil Harris, Frank Lawler, Tim Barr, Rebecca Goldberg, Katie McKee and Karen Gruber all add nice comic touches. Not resting with Ionesco's wonderful language, this play is often visually creative, thanks in great part to scenic designer Matthew Kwatinetz, who creates three sets that are progressively witty.
While it's far from a perfect Rhino and not without its glitches (a few characters have French accents; most don't), here is a production with depth, energy, wisdom and courage.