The Suicide

Overview

Gareth Davies is a lunatic who should be unleashed on theatre audiences as often as possible. His is a mad genius that is often sealed in lead-lined supporting roles, adding the glow of the honestly absurd to tragedies and comedies alike. Now, in The Suicide, Davies detonates the full force of his being over a span of around 115 minutes. It is an experience trumped only by having God as your fluffer.

This is the Hayloft Project's third visit to Belvoir Downstairs, and this time director Simon Stone has opted for a black comedy to continue showcasing his company's broad talents. Originally by Nikolai Erdman, The Suicide was a thorn in Soviet Russia's side, resulting in its repeated failure to be properly staged during Erdman's lifetime. It is the story of Semyon Semyonovich, unemployed, married and plagued by midnight hunger pangs, driven by a thwarted love for the tuba towards a very public suicide. Stone has taken this fertile irreverence and reformed it into a madcap piece that will ring true with anyone shat upon by the dreaded G acronym over the past two years.

Surrounding Semyon is a community of odd characters, ranging from his long-suffering wife Maria (Anne-Louise Sarks) through to the opportunistic Aristarch (Johnny Carr) and Alexander (Tom Wren). The ensemble carries the energy of the piece with dedicated aplomb, juggling quick-fire costume changes and imaginative musical interludes with only the occasional moment dropped. In less capable hands, The Suicide may have become a sketch comedy revue, but there is no need to worry about that here.

Elevating this production further is its design team. Claude Marcos' sparse gravel and dirt space delightfully takes the piss out of grim, Soviet landscapes, while Teegan Lee's lighting moistens the action — especially in the play's high noon climax. Stefan Gregory has opted for an a capella soundscape that gives a playful and maniacal lilt to the night's proceedings, and, drawing upon the flavours of pantomime and farce, Mel Page has shrewdly sourced costumes for all 27 characters.

With the dark intensity of Love Me Tender Upstairs, The Suicide is a clever programming choice for Belvoir. If you haven't yet witnessed one of Hayloft's classic rebirthings, definitely pop your cherry with this one. Just don't drink too much beforehand, as the combination of constant laughter and no interval may result in your impromptu addition to the set.