THEATRE REVIEW: The Rubber Merchants - The Old Red Lion Theatre, London.

‘The Rubber Merchants’, written by Israeli writer Hanoch Levin in the late 1970s, is a tragi-farce that ‘explores an eternal theme of the tragedy of the life unlived’; and the weigh-up between this and the taking of risks that we are often adverse to. Performed by the London-based Gamayun Theatre, this is a company that bucks what it sees as the current trend of minimalism and small casts, with a self-proclaimed aim to ‘build performances that are vivid and expressive…. venturing into visual and performance experimentation, bordering on grotesque’. This production also draws from and unites Israeli, Ukrainian and British theatre influences and styles.

The play is an exploration of three characters veering between a safer life and fleeting aspirations to escape it. Bella, a pharmacist, living an ordered, inflexible life that doesn’t even allow for overnight guests; Yohanan, a savings-obsessed government clerk; and Shmuel a rubber merchant in the literal sense, attempting to shift 10,000 of Russia’s finest condoms, wielding his samples to the unsuspecting public in a guitar case. We follow the trio through over two hours of drama spanning twenty years, with a number of absurdist set pieces that explore relationships with sex and money, and the link with a constant reaching out for something more rewarding. For Bella, it’s a paradoxical desire to find true love (and possible investment for her business)... without her carpet being damaged; for Yohanan, fulfilling his fantasy sex-life with ‘Natasha in Odessa’ without damaging his carefully invested funds or compromising his fragile libido; and for Shmuel, (very much the orchestrator), a desire to make money and perhaps find love -  albeit on his terms.

One thing is for certain, Levin’s writing is sharp, at times hilariously funny, and resonates in our post-lockdown, fearful world. It also translates well into this vibrant, risk-taking production, with it’s bizarre scenes reminiscent of great absurdist luminaries, Dario Fo and Ionesco, combined with episodes of the ‘90’s TV show ‘Eurotrash’. The stage is elevated at the back for the many songs that intertwine with the dialogue - often cheesy Eurovision-esque renditions but also some moving ballads, such as Bella’s regretful reaching the age of 62 in the second half: movingly reminding us of how fast-moving life really is. This is underpinned by powerful soliloquies from all three characters towards the end - well worth sticking around for.

Being a pub theatre, the performance space is small, the floor covered in styrofoam chips which the actors wade through, which at first is distracting, but on reflection perhaps a cleverly ironic take on the overflowing naturalistic sets where actors move from one position to the next, only to - in the well-known expressionist practitioner Berkoff’s words - “trip over the furniture”.

Director Aisya Sosis has created, without question, a unique and relevant take on Levin’s play, combining her characteristic ‘buffoonery and grotesque irony’ with some hilarity and pathos. Although this production seemed clunky at times - perhaps reflective of being very early in the run - the audience in the main, was hard pressed not to warm to its humour and energy, making for a highly entertaining (if a tad over-long) evening in this intimate theatre space. What more can we ask for in January? Reviewer - Georgina Elliott on - 12.1.22