White Rabbit Red Rabbit

Pulled from the Hat

White Rabbit Red Rabbit

by Nassim Soleimanpour

The Questors at the Questors Studio, Ealing until 2^nd November

Review by Polly Davies

I am always a little nervous about a play described as experimental theatre, even one that has achieved cult status after playing in over thirty countries.  But after an hour in James Burgess’ capable hands, I am happy to offer some advice – if you can get still get a ticket to Questors production of Soleimanpour’s White Rabbit Red Rabbit then go before they all go.  There is a reason why the run of this play in the West End has been extended, and the Questor’s production of this extraordinary play, first performed in 2011, makes this clear.

The small studio at Questors is a perfect setting for a play which relies so much on the exchange of energy and understanding between the actor and audience.  Pre-publicity for the evening stressed the potentially disturbing nature of the script, this was emphasised again on arrival at the theatre, and by the introduction by creative director Becky Hartnup.  We were warned again about the content, offered a quiet space if anything turned out to be triggering, but told firmly that there was no re-admission.  The minimalist set, a few stacked boxes, a ladder painted on a black backdrop gave no clue as to what would follow.  But the solemn and scary sound effects that greeted us on arrival added to the tension.

The play starts with the performer arriving on stage with no script, no direction and an unfamiliar set.   Becky’s unsettling message meant we were ready to understand the uncertainty in the mind of the performer.  He enters the set, opens a sealed envelope and starts to read and react to the script.  The performer chosen each night must come to the script anew, they must not have seen the play, read the script or know what happens in the play.  This changes the dynamic with the audience.  The audience is no longer passive, trusting they will be watching a well-rehearsed performance. Instead, they are part of the development of the evening and equally responsible for its success or failure.   Neither they nor the performer know where the script is going.  They must trust the performer to take them on an unknown journey, following the instructions of a distant author in an unfamiliar land.

And the performer must trust the audience to empathise with him as he explores the script in real time, and to convince them to empathise with the author, whose reality he is exploring.  For the first night the performer was James Burgess, who initially took a light-hearted approach to the script, sharing with the audience his alternate confusion and understanding of the beautifully written, almost poetic, but surreal script.  This approach helped as the script developed its disturbing themes, and although I don’t think anyone walked out, a few hands tightened at various points throughout.  The dark moments were leavened by some seriously surreal well-played humour.  But make no mistake, captivating and exciting as this performance was, its messages were profound, thought -provoking and important.

Nassim Soleimanpour wrote this when a young man, unable to leave Iran, but who found an original and effective way to reach out to the world he could not visit.  Congratulations to Questors and the performers for successfully taking on this high wire act of theatre.

Polly Davies, October 2024

Image by Connie Blunkett