Colin Duckworth's adaptation of Albert Camus' The Outsider is a vibrant, affecting work on stage.
In the story of Meursault, who murders a man and comes to accept absurdity in the face of execution, Duckworth has imbued his one-man script with a rich texture; alliterative slurs and staccato beats that fill the theatre with the heat and oppressive apathy that define Camus' original work. James Jackson's direction is equally masterful with nonverbal interludes that provide commentary on Meursault's journey, though some more effectively than others. He has placed Meursault in a space of uncertain rules and ethics, where precious and powerful things lose their meaning: ashes vacuumed away and alarms unplugged. Nathan Burmeister's design facilitates Duckworth and Jackson's combined vision seamlessly; a sleek, simple set transformed by bold lighting echoing each shift in Meursault's story.
But the hero of the production is Ray Chong Nee, who inhabits this play with absolute precision. From the beginning, Chong Nee establishes an incredibly intimate relationship between Meursault and the audience: his stunning performance, hitting the perfect balance between Meursault's fascination and dismay, is both inviting and implicating for the audience. His physicality and vocal control is phenomenal, transforming so completely into each supporting character. With intelligent script and direction, striking design and an indomitable Chong Nee at its centre, this production should not be missed.
