Presented by The Other Theatre in association with KXT Bakehouse Theatre
Absurdism meets ‘The Office’ in this continuously creative, if somewhat alienating production
Reviewed by Justin Clarke
KXT on Broadway, Ultimo
Until 21st December, 2024
Tickets: https://www.kingsxtheatre.com/the-pigeons
Working in a fast paced office can sometimes feel like working in a cage. If you find yourself in a career that puts you inside a three and a quarter walled cubicle, you may know exactly the claustrophobic feeling it brings. Under an absurdist umbrella, David Gieselmann’s The Pigeons utilises quick paced black comedy to delve into the madness and psyche of its many characters.
Director Eugene Lynch imbues The Pigeons with the foundations of the German Theatre landscape that crafted Gieselmann’s more absurd work. A mentee of Sarah Kane (4.48 Psychosis, Phaedra’s Love), Gieselmann’s amalgamation of styles takes shape here on the KXT stage, having previously been staged over at Griffin in 2010. The styles collide as we see Robert (Mark Langham), the owner of an unnamed business, wanting to disappear without a trace, spending time with his hidden pigeons instead. In doing so, he wants to hand the ownership of the role to Holger (Andrew Lindqvist) who is in the midst of a breakdown as he succumbs to being the office bully, Heidrun’s (Kandice Joy), new hobby.
In a first for the KXT space, Lochie Odgers’s set design drapes curtains either side of the stage, hiding what’s within. The sudden drawing away of the curtain cascades the audience into the indiscernible chaos of the office Christmas party. Dominic Lui sings a tonally ill-fitting ‘Silent Night’ to the chaos surrounding the setting as we’re introduced swiftly to each character in scattered arrangements.
Robert’s wife Gerlinde (Kath Gordon), can only think of moving to Italy, while their son Helmar (Jackson Hurwood) just wants to play scrabble with his new Dutch lady friend, Silja (Micaele Ellis) whereas Silja seductive nature shifts as she sifts through Robert’s safe. Elsewhere, Dr. Erich Asendorf (Tel Benjamin) plays therapist to half the office, whilst also having an affair with Holger’s wife, Natalie (Lib Campbell). Natalie doesn’t care about her husband’s work problems, instead just wants him to snap up the promotion in front of him, whilst she sleeps with their therapist.
It’s not as easy a watch compared with other shows on offer this silly season, but well-planned silliness it most definitely is.
If it sounds like a lot to follow, it is. Lynch harnesses aspects of Regietheater in creating something bold and non-traditional in such a tight space. It’s avant-garde in its approach to the story, utilising non-linear structure to jump between characters and situations. Christine Pan’s sound design floats in and out as Lui adds live piano accompaniments and renditions of pop-hits throughout in a discordant echo to create a surreal atmosphere.
There’s a lot of invention here in an attempt to amplify Gieselmann’s comedy. It’s all art, with not a lot of matter. Gimmicks occur that leave you wondering exactly why they’ve happened as the descending madness blurs the lines of reality and fantasy. By investing in the overall heightened chaos of the piece, the ability to follow any sense of motive or plotline is sacrificed. It often leaves you playing catch up and feeling increasingly alienated.
Cassidy McDermott-Smith’s choreography is energetic and sharp to manoeuvre the performers around the space at breakneck speeds. The execution however is at times harsh, in danger of being clumsy and without clear purpose at times. What this does do is add to the overarching anxiety present in the space, reflective of each character’s manic interactions with each other.
As the play reaches towards its climax and the space closes in, the characters become the pigeons in the cage. The space is tight in physicality and density, but at the cost of the sightlines for the audience even in the compact space already set up. As we arrive at the conclusion, the final dialogue is a feat in ensemble vocal dexterity as characters bounce between reveals, disguises and betrayals.
In the end, perhaps Robert’s dream of a life with pigeons is one we should strive for. Simplistic, free of the anarchy of office life, and dreaming of a true place to call home. The Pigeons contains more than meets the eye. Much like its playwright and direction, the amalgamation of craft is on full display. It’s not as easy a watch compared with other shows on offer this silly season, but well-planned silliness it most definitely is.
CAST & CREATIVES
Director Eugene Lynch
Set Designer Lochie Odgers
Costume Designer Lily Mateljan
Lighting Designer Topaz Marlay-Cole
Composer / Sound Designer Christine Pan
Choreographer/ Movement Director Cassidy McDermott-Smith
Dramaturg Aaron Ronalds
Intimacy Consultant Madee Osborn
Voice &Text Coach Patrick Klavins
Assistant Directors Luke Visentin & Spark Sanders Robinson
Stage Management Atlas Andrews
Producers Jason Jefferies, Kandice Joy, Eugene Lynch
CAST
Andrew Lindqvist, Lib Campbell, Mark Langham, Kath Gordon, Jackson Hurwood, Micaela Ellis, Kandice Joy, Dominic Lui, Tel Benjamin
