Eugéne Ionesco’s modern classic, Rhinoceros, employs absurdism to demonstrate the dangers of conformity. Brought to the stage by an emerging troupe led by Jasmine Leech, this rendition of Rhinoceros is entertaining, faithful to Ionesco’s vision, and aesthetically pleasing.

The whole production had a very classic theatre feel to it, which definitely suits Rhinoceros well, given the structure of the play and the time it was written. The makeup and costumes were very reminiscent of the 50s-60s stage look, with over-pronounced expressions and fitted suits (common after wartime, due to undersupply of fabric). The colour scheme was consistent and under saturated, featuring lots of browns and greys, fitting the theme of rhinoceroses.

The rhinoceroses’ heads were fantastically large, grey helmets that looked like enormous origami heads. My only problem with the heads was that they were featured very briefly. With such a fantastic eye-catching prop, they really could have found more opportunities to use them. Sound was also an important part of the production, in an abstract way; the rhinoceroses’ noises were the largest part of the music, with an uncoordinated trumpeting to let the audience know when they were approaching.

The cast worked well together, weaving through Ionesco’s scenes with ease. Flipping the main character, Berenger, from being male to female was definitely an interesting twist that changed nothing by way of story, but did give an extra flavour to the disapproval Berenger receives from co-workers and friends. Jasmine Leech did a wonderful job as Berenger – especially in the last act – where she falls into a long, thoughtful monologue about rhinoceroses, finally reaching the point of the play as the rhinoceroses take over.

Overall, Rhinoceros is a worthwhile show, particularly for those seeking a performance reminiscent of traditional theatre. It’s enjoyable, tells a good story with a good point, and is a well-rounded rendition of a great classic.