Embracing Absurdity: A Review of A Noise Within's 'Exit the King' Directed by Michael Michetti
A Noise Within presents Eugène Ionesco’s “Exit the King,” directed by Michael Michetti, featuring a king facing his imminent death. King Berenger the First is given 90 minutes to live by a doctor, challenging his denial of mortality. Ionesco, a key figure in the Theatre of the Absurd, uses absurdity to explore existential themes through unconventional storytelling and language.
The play, rooted in French farce, satirizes the absurdity of human existence as Berenger grapples with his impending death. The title, “Exit the King,” emphasizes the play’s theatricality and the escalating madness of the situation. Berenger, a symbolic Everyman, is surrounded by characters who either torment or comfort him, including his antagonistic first wife, Queen Marguerite, and his enabling second wife, Queen Marie.
As Berenger navigates his final moments, the cast of characters, including a disheveled servant and a ceremonious Guard, adds to the play’s comic grotesqueness. Despite his attempts to evade death, Berenger’s journey is inevitable, leading to a climactic confrontation with his mortality. The actors deliver daring performances, with Lubatti’s Berenger embodying a petulant monarch and DeMichelle’s Marguerite commanding the stage.
The production’s lavish set design and costumes create a whimsical atmosphere, enhancing Ionesco’s playful tone. However, the play’s energy and humor may feel forced at times, hindering the full realization of Ionesco’s vision. While past productions have captured the frenetic spirit of “Exit the King,” this revival struggles to ignite the same fervor.