I didn’t know what to expect at the American Repertory Theater’s production of Eugène Ionesco’s “Rhinoceros,” but the absurdist play is funnier, and more thought-provoking than I could have imagined. Stellar performances by Paul Giamatti and John Turturro anchor the production in this strange play.
In a small provincial French village, the townsfolk start seeing rhinos stampeding about. It’s an odd occurrence that some—particularly those who didn’t witness firsthand— initially debate the veracity of. Eventually, people begin to realize that their friends and loved ones are turning into large, aggressive animals, one by one. A beloved pet is the first to pay for the animals’ arrival. It quickly becomes apparent as the show goes on that the rhinoceroses are a metaphor for mass conformity.
“Rhinoceros” is expertly directed by Diane Paulus, and the stunning, star-filled cast of eight brings everything the script calls for: physical comedy, histrionics, hysteria and conformism.
Long-time actor Paul Giamatti excellently portrays Jean, an arrogant and somewhat controlling personality. He’s friends with John Turturro’s character Bérenger, a kinder, gentler soul who leans too heavily on imbibing to get through life. Turturro is deeply affecting as Bérenger, who struggles to make sense of life and finds existence a troubling puzzle. It’s a conversation that Jean doesn’t have much tolerance for. And he is often unkind to Bérenger.
John Turturro in “Rhinoceros.” (Courtesy A.R.T./Hawver and Hall)
Tatiana Maslany of “Orphan Black,” and more recently “Maximum Pleasure Guaranteed,” is Daisy, the office beauty, and Peter Francis James (best known for his role in the TV show “The Godfather of Harlem” and HBO’s “Oz”) does double duty as the Grocer and Papillion, Bérenger’s office boss. Harriet D. Foy — who plays an unscrupulous pastor in “P-Valley” — renders the brief supporting role of the privileged Housewife rather wonderfully. Kristine Nielsen (the kind housekeeper in HBO’s “The Gilded Age”) is the Grocer’s wife, and Mrs. Boeuf. Alex Ross is Dudard, who has a crush on Daisy, and Clay Singer is a waiter and Botard, a very opinionated person who is skeptical of journalists and the rhinoceros sightings.
There’s no wild makeup, puppets or major props (except one large eye) to convey the transformation of townsfolk to animals. And when it’s time for Giamatti’s power-hungry Jean to morph, I understand why. Giamatti rears his head. He stomps, grunts and growls (sounds skillfully augmented by sound designer Fitz Patton). As though part of a stampede, he charges towards Bérenger. Giamatti is completely convincing, and incredible to witness. Bérenger wants to help his friend, but ultimately flees out of fear.
Alex Ross (Dudard), Tatiana Maslany (Daisy) and John Turturro (Bérenger) in “Rhinoceros.” (Courtesy A.R.T./Hawver and Hall)
Ionesco’s “Rhinoceros” is considered one of the classics of the Theatre of the Absurd, a post-World War II movement that often depicted life as devoid of meaning. In this genre, typical plots are avoided, and language is broken or quickly changes subject to convey a lack of a human connection.
Ionesco was born in 1909 to a Romanian father and French mother. In a 1984 interview with the Paris Review, Ionesco described growing up in Romania as a teenager and hating it.
“It was the time of the rise of Nazism, and everyone was becoming pro-Nazi — writers, teachers, biologists, historians,” he said. He called the time a “plague.”
While the Nazism Ionesco confronted is in the past, there are plenty of rhinoceroses presently. Political movements and polarizing wars are splitting opinions and pushing one side or another to conform. And even now, it is easy to recall when the pandemic sparked hysteria as new rules rolled out daily and fear took hold of the world. Opinions about vaccinations could spur arguments between friends and strangers alike and misinformation spread like wildfire.
Tatiana Maslany (Daisy) and John Turturro (Berenger) in “Rhinoceros.” (Courtesy A.R.T./Hawver and Hall)
As rhinoceritis propagates in the play, Bérenger resists the pull of joining the rhinos as even some of the most prominent townsfolk succumb to the pressure. Much of the play is dominated by Giamatti’s Jean until he joins the pack, but in the second act, Turturro gets a chance to share the spotlight with the very talented Maslany’s Daisy. Bérenger and Daisy consider the future and whether to stay together holed up in his apartment. They look on as the herd stomps by, trumpeting and snorting, looking wild, happy and free. Daisy wonders if they truly are.
The American Repertory Theater’s production of “Rhinoceros,” runs through Sept. 27 at the Loeb Drama Center.
