Thoughts are illustrated through human form in playwright Ben Anderson’s new play This Kitchen is Not Imaginary. Its description as a ‘visually daring tale’ couldn’t be more accurate as it encompasses an engaging melange of witty antics which have some serious clout underneath exterior human facades.

A man (Alex Walker) is tormented by his companion (Jeremy Rodmell), and a chorus of others (Caleb Wright, Nathan Tunbridge, Jonathan P. Riley, and Jessie Rose McCall) romp and wrestle with Walker in all manner of warbled means. Humorous and sombre innuendos are directed at Walker in which themes of identity, authority, and peer pressure, to name a few, are interspersed.

Things turn grim when a knife appears and is used to taunt and tease. Walker proclaims “I’m getting sadder and sadder” as he struggles to deal with the persistent presence of others. An outside voice from the universe conveys intermittent rational remarks which provide some balance amidst the anarchy.

Set designs are modified swiftly. A kitchen and lounge, swirling waves on the ocean and a makeshift boat with its billowing sail provide landmarks upon the stage. Doron Von Trapp integrates an accompanying musical score with eloquent melodies on the piano and instrumental percussive sounds that provide effective cues.

The chorus of others also provide amusing sound effects during their various antics and as Walker steers his boat through choppy waters these misfits transform into vivacious puppeteers in motion. Sharks prowl the waters and a lively battle scene between man and shark provides a hilarious sight as they fight to the death. Lumberjacks arrive and hustle nearby, and Phoebe Borwick’s deceptive ploy and hysterical screaming sends Walker into a spin.

Tension and turmoil builds and explodes, and Walker is suddenly revitalized. All is forgiven and the closing scene provides an astute message which encapsulates the play.

Director Samantha Molyneux’s influence and presence is evident through the cohesive interplay between characters on stage and Anderson’s clever script is a fresh and innovative revelation on the inner psyche. This lively cast deliver an engaging performance and their use of puppets and props send recurring ripples of laughter through the audience. It has been an enlightening and memorable night at the theatre.

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The action starts straight away with the main character ‘Man’ (Alex Walker) making a paper plane that he throws over the screen on the back of the stage. The fact that it got stuck in the ceiling, whether intentional or not, certainly loosened up the crowd from the get-go.

Man very soon is set upon by invisible spirits, alter egos, devils-to-fight, his conscience, ‘Puck’-like creatures that seem to mock him while being one-dimension removed from his real life.

Weird and unworldly vocalisations accompany these spirits which is somewhat unnerving at first but then strangely human, expressing a whole range of emotion as the stage movement occurs. [More] 

Copyright © in the review belongs to the reviewer