Eugene Ionesco’s Theatre of The Absurd-style play is not about Africa, Asia, or the hunt-for horns (which makes Rhinos subject to extinction). It’s Ionesco’s symbol for unspeakable, human behavior — something so terrible that’s it’s impossible to put to words.
Despair developed into the philosophy of absurdity, and affected all of the Arts during WWII. For example, Picasso’s “Guernica,” which depicts an open-mouthed, frightened horse among a pile of human destruction was against fascism. However, Ionesco’s 1959 play is strictly about human behavior and does not contain any “isms.”
Here, like a poor-sighted rhinoceros, humans who are blind-sighted are apt to join the herd and destroy everything along the way – possibly making our species extinct. And yet, there’s a glimmer of light –for better or worse just one person can change the whole world.
At Yale Repertory Theatre, OBIE award-winning Resident Director Liz Diamond and choreographer Emily Coates direct a superb cast. Berenger (Reg Rogers) is our “Everyman” who notices that his close friend, Botard (Richard Ruiz Henry) is becoming increasingly anxious over periodic rumbling and smoke. This is thought to be caused by a stray Rhinoceros running through the streets of a small town in France and no one knows where it came from. But we did! Thanks to the stage-technicians the stampedes were very effective — even our seats vibrated.
As the tension builds, Botard becomes sick and eventually grows frightening nose-horns – as do all of Berenger’s acquaintances. Like a symphony, the last movement is the most powerful for our defiant hero. You have to see it to understand why.
This very significant play merits a “YEA!” for Yale Rep!
