When recently describing the plot of this absurdist tale, as succinctly as possible, I arrived at “The nose is an absurdist short story about a chap who woke up and found his nose was missing… It had been removed by the barber the day before, but he'd forgotten this due to his drunken stupor.” I wished, for the sake of producer/director at Bassett Theatre company Andreas Robichaux & Tom Doyle, that there were more to it than that… alas, the collaborative team consisting of: costume designer Amechi Inhenacho; sculptor (and nose performer)Frankie Hussey; make-up artist Georgia Clough; performance artist Sam Ashcroft (as ‘anarchic potato'); unnamed Ukrainian Soprano and flautist duo; and chef Niko Mroczkowski, all made a full of evening of such a whimsical if brief plotline.
Taking place in a block of flats in London Fields, the immersive promenade-style adaptation initially struggles to build momentum. An over-subscribed crowd is ushered through a small block of flats by a looming narrator, Billy Sharman, who perfectly befits the role. Despite the cramped circumstances, the team of performance artists and actors successfully navigate the challenges - including public users of the performance space.
The ‘scripted' part of the performance lacks some clear direction; however, the anatomy of the piece in its entirety has a home-made charm, creating a unique and ultimately enjoyable experience (think low-budget London Dungeons).
The relaxed atmosphere of the creative team, who were present, engage the audience beyond the traditional “us” and “them” theatrical experience. Between Gogol's intermittent text of The Nose, and sitting down inside somebody's spacious domestic kitchen space, the audience, actor and creative team alike become acquainted with one another as the sun sets on the rooftop terrace, accompanied beautifully by unnamed Ukrainian singer and flautist duo, whilst the absurdist potato comedian, Sam Ashford, chips away at the crowd.
The final act is a feast of the senses as chef Niko Mroczkowski creates a thoughtfully designed 3-course menu which nods to Nikolai Gogol's own fancies including Ukrainian delicacy Vareniki (akin to potato dumpling). In between courses shadow puppeteer Drew Colby conjures up the image of Nikolai Gogol and further engages audience immersion with interpretations of themselves.
Bassett Theatre Company have certainly transcended the limitations of both funding challenges and traditional theatrical expectations. Whilst I imagine a graduation to a bigger venue is on the cards, a more substantial and compelling story may also be essential.
Review: Sebastian Calver