It could be an ecological alarm, or a chronicle of the despotic ways of the Nicolae Ceaușescus of the world, but at the end, Exit the King feels like an intimate reflection of the intriguing process of death.
It’s official. The King (Henri Lubatti) is going to die soon. Very soon, By the end of the play, his second wife (Joy DeMichelle) announces it so cold-heartedly. His second wife (Erika Soto), prone to partying and drinking, is devastated. The doctor (Ralph Cole Jr) knows of the King’s fate, and has no hesitation in telling him the truth. The King is not only dying, he is also losing grip on his kingdom. Nobody follows his orders, not even Alexa. His guard (Lynn Robert Berg) and servant (KT Vogt) are a reflection of the decaying kingdom.
Born in 1909, Playwright Eugène Ionesco grew up in a picturesque French village full of bloom and light. This landscape contrasted dramatically with the grimness and brutality of WWI, WWII, the Holocaust, and other tragic events of the first half of the 20th century To highlight that contrast and absurdity cleverly, Director Michael Michetti utilizes a clowning format that blends tragedy and comedy, two elements that bring out the eccentricities of the characters and the symbols they represent.
Each of the actors in this production make great use of physical comedy. This is a group of experienced actors that nail every beat. Lubatti, as the lead actor, is simply extraordinary. His ability to portray comedic arrogance, goofiness, and how he exteriorizes his inner transformation is one of a kind. Soto continues to add to her already impressive collection of great performances at A Noise Within. Her timing and physical comedy skills are at full display here, showing off the kind of talent that comes out of USC. The contribution of DeMichelle, Cole Jr., Vogt, and Berg to the comedy and flamboyance of their characters defines the success of this production.
The clowning artifice implemented by Michetti in this production exemplifies the effective duality of the clown. The initial comedy that offers buffoonery and apparent superficiality progresses to a deeper philosophical tone; one that invites the audience to confront the reality that the end of life is an inevitable force of nature, whether we are royals or simple peasants. The King, with all of the power he once flaunted, is forced to face an abrupt change, both in terms of physical power and spiritual awakening. Within those depths, Ionesco delves into rebirth, transmigration, immutability, and the eternality of the Self.
The play, with its absurdity and symbology, is paired craftily with an austere and gloomy scenic design by Tesshi Nakagawa. The medieval and gothic design offers a dramatic contrast with the impressive lighting by Jared A. Sayeg. The visual representation of Bardo is striking; artistry that you can only experience in person. The costume design and makeup by Angela Balogh Calin and Tony Valdés respectively add a quirky touch to the playfulness and oddity of the characters.
Losing one’s kingdom might be hard, but facing death might be even harder, especially if your ex-wife and doctor keep reminding you of that. Despite the support and sexiness of his second wife, the King has to make some choices, sooner rather than later, as he doesn’t have much time. Will the crumbling world beneath his feet teach this arrogant King a lesson?
Exit the King
A Noise Within
3352 E Foothill Blvd.
Pasadena, CA 91107
Performances May 9 – May 31:
• Thursdays, Fridays and Saturdays at 7: 30 p.m. / Saturdays and Sundays at 2 p.m. (no Saturday matinee on May 9)
Tickets: anoisewithin.org
• Written by Eugène Ionesco
• Translated by Donald Watson
• Directed by Michael Michetti
• Starring Lynn Robert Berg, Ralph Cole Jr., Joy DeMichelle, Henri Lubatti, Erika Soto, KT Vogt
• Presented by A Noise Within, Geoff Elliott and Julia Rodriguez-Elliott, producing artistic directors
Creative team: Clowning consultant Matt Walker; scenic designer Tesshi Nakagawa; costume designer Angela Balogh Calin; lighting designer Jared A. Sayeg; sound designer Jeff Gardner; wig and makeup designer Tony Valdés; properties designer Stephen Taylor; and dramaturg Miranda Johnson-Haddad. The assistant director is Marco Rivera, and the production stage manager is Hope Matthews, assisted by Morgan McDonald.
