Review: The Uncontainable Nausea of Alec Baldwin (New Diorama Theatre)

Review by Jack Casson

⭐️⭐️⭐️⭐️

Despite its namesake, The Uncontainable Nausea of Alec Baldwin is far from sickening, journeying through an absurdist account of one man’s guilt,  holding incredible energy but lacking somewhat in refinement. This experimental piece led by migrant-led company TG Works follows the titular Alec (James Aldred) as he explores the guilt of an uncharacteristic act of violence against a co-worker (Stefanie Bruckner). 

The plot's faults lie in the fact that this primary storyline is backgrounded by commentary on AI and technological distraction that gets lost in the mysterious circumstances of Alec’s guilt. As we experience events through AI-led interrogations, dream-like sequences and absurd mimetic comedy, the piece creates a meta-theatricality, providing relief from the heavier moments as the play interrogates a modern sensibility in which we turn to technology and parody to avoid our reality.

Where this play truly shines is in the energy of the company. The cast each gives brilliant physical performances as they inhabit distorted fragments of Alec’s memories. Bartel Jespers, in particular, gives a fun, well-timed comedic performance as James in a role that seems a mix of Sheldon Cooper from The Big Bang Theory and one of the Blue Men. His entrance to the stage space is as an intentionally obscure cleaner of sorts, but much like the rest of the earlier moments of the show, his role is clarified when we finally find out what Alec has committed. Similarly, Stefanie Bruckner gives a haunting performance as she enters the space covered in blood, hinting at an unprocessed violence that takes time to be fully explained. 

Leading man James Aldred gives an explosive performance as he switches between nonchalance and frustration, yet some of his material could do with some trimming as it verges on repetitive. His final clarifying monologue is visceral in its raw description of the current political state, throwing audiences outside of the illusory theatrical space into the harsh reality that lives outside the stage. Starting the show with his back to the audience, a tableau of avoidance, and ending the piece with him spotlighted, in full confrontation of his actions, a masterful conclusion to his journey of self-accountability.

The piece thrives in its design, with brilliant projection work by James Aldred and lighting by Alex Forey. The intimate space is transformed into an oppressive playground affixed with bold elements such as a vibrant yellow shaggy carpet and an inflatable red chair. Indeed, much of this play’s whimsy comes in the actors playing with this space. Moments of intense violence are both implied and shown (nothing too graphic, just out of the blue), completely undercutting the rompous subconscious journey. Similarly, camera operator Manuela Pierre, who increasingly becomes relevant to the piece, drives the majority of the tech we see on stage. From eerily real AI chatbots that flout stock phrases of support to an interrogative live action camera feed that is projected onto the back wall, the digital implements of the piece vary from impactful to feeling slightly forced and irrelevant.

However, the piece carries a weight to it that improves with time. The final two monologues provide some much-needed clarity about what we have just witnessed on stage, giving focus to the absurdism and laying out some harsh realities. For example, the show forces us to watch the slow inflation of a giant red chair and characters rolling up the yellow carpet, and in the moment, these feel tedious, but given the commentary the show provides about distraction in the modern age, these slower practicalities force us to reflect on the visceral words that the characters expound.

The Unconscious Nausea of Alec Baldwin felt horrifyingly current (quite literally with the use of live newsreel) and provided a meta-theatrical commentary on entertainment as distraction. The show recognised theatre for its brilliance but asks us to question how the form distracts us from the atrocities of the real world. And whilst the piece could be shortened through some fine-tuning, I appreciate its tedious moments in retrospect for the harsh realities of living these moments provide. A fun and colourful exploration of guilt-laden psychosis, The Uncontainable Nausea of Alec Baldwin is increasingly relevant and is best experienced with an open mind.

The Uncontainable Nausea of Alec Baldwin plays at New Diorama Theatre until 24th March. Tickets from https://newdiorama.com/whats-on/the-uncontainable-nausea-of-alec-baldwin