Writer: George Newman
Director: Angelina Voznesenskaia
Stuck in an airport for six years?! In a show as quirky as the title suggests, this is exactly how Vasya feels.
Routed in contemporary contexts covering the 21st century’s most unsettling events, from pandemics to wars, it makes sense that someone would want to zip themselves away within a suitcase that is perpetually looping on a luggage conveyor belt. Vasya’s hibernation seems even more logical as actor, Bee Edwards, narrates the coming-of-age identity struggles of a queer, international drama student torn between nationalities and gender. Yet, amongst the ferocious inner turmoil, Chicken or Fish? provides uplifting moments of self-discovery, self-acceptance, and meaningful human connection in a world where it can be dangerous to truly be oneself.
Coming from a highly censored country, the play opens with Vasya’s discovery of contemporary theatre in Britain, as they delight in the possibilities to create art that can say things about the modern day. Chicken or Fish? does just that by exploring Vasya’s identity struggles that are undoubtedly shaped by current politics. Hinged on actor-audience connection, the production invites the audience to reflect on their own life, and how their contexts have shaped their identities.
Ensuring that the audience remains connected to the performance, Edwards breaks the fourth wall during speeches that recount Vasya’s most vulnerable immigrant experiences. When Edwards does turn away, mirrors are cleverly placed side stage to capture the actor’s expressions. Another notable moment is when Edwards runs rings around the audience, creating an immersive experience that works well in the intimate theatre space, and helping to create the world of the airport by mimicking unclaimed luggage on the conveyor belt.
Voznesenskaia’s more imaginative storytelling devices, such as the projected horse and the illuminated eggs, are essential to Chicken or Fish? in fabricating Vasya’s chaotic and turbulent journey to self-discovery. These are mostly well-developed as effective storytelling techniques that serve the purpose in bringing to life George Newman’s poetic writing. However, some choices felt underdeveloped, such as the actor’s movement in the occasional transition. Although challenging in a production intended for theatrical chaos, the creatives should carefully consider which devices add impact and which can be forsaken in order to create a more polished show.
Edwards’ solo performance is impressive. Their expert comedic timing shows off Newman’s witty script, delivered with a voice that is made for the stage; precise diction that is well projected and littered with ranging vocal tonalities. Building on this, there is potential to experiment with different accents and physicality to develop the multi-roling necessary within the solo performance.
Runs until 22 August 2025
Camden Fringe runs until 24 August 2025
