Honey Badger. The Cockpit Theatre.

Theatre being what it is, when the stage lights flicker on to reveal a solitary character leaning against a large suitcase it is a fair bet that said suitcase contains props, revelations, and secrets. UK national treasure Sir Ian McKellen unpacks 60 years of emotional baggage using just this technique, to tremendous effect, in Ian McKellen on Stage. The Cockpit Theatre’s Honey Badger sees Slovakian-born actor and UAL alumnus Juraj Benko discharge his unnamed character’s portmanteau to reveal a chronicle of child abuse and redemption. The piece looks and sounds good, but the story Benko has to tell is awfully heavy on symbolism and woefully thin on content.

Let’s be clear, Honey Badger’s narrative flaws have nothing to do with the impressively capacious and beautifully adorned suitcase, the key to which hangs from the character’s neck like a leaden weight. It opens to reveal the purple jacket once owned by his sadistic father. Cue a sombre verse reflection on a childhood scarred by brutality. Next, we get his mother’s pink dress. Cue a solemn monologue on motherlove, even when mum is a philander who makes him hide in cupboards when her lovers call. Symbolically this is Benko laying the family’s dirty laundry out to public view. The symbolism is not subtle.

Next out of the case comes a collection of toy animals. Cue prose musing on how we are all animals really and how brutality can be passed down generations. Gosh, let’s hope this character is not a nasty to his infant as his forbears were to him. Next comes a pack of cards; see, mum was a money-grabbing gambler as well as a seductress. Next comes a brandy bottle from which Benko drinks. It turns out mum was an alcoholic too. Damn, let’s hope Benko’s man does not turn to hard liquor.

There is a lot more to come from this case, including inter-alia, apples (soon smashed), a child’s chair (don’t ask), and a creature that sounds like Gollum from the Hobbit. Honey badgers, native to Africa and Asia, are tough, aggressive, and fearless and the size of small dogs. Even apex predators like lions, crocodiles, and malign parents avoid them. Redemption comes when Benko’s man channels his inner badger and repacks the case.

Plot weaknesses and symbolic superfluidities aside, Honey Badger has things going for it. Benko is a likeable stage presence and a remarkably graceful physical performer. One late scene sees his character waltz effortlessly across the stage with the coat hanger carrying mum’s evening gown. In a nice touch, for once understated, her crimson scarf unfolds to reveal the wings of a butterfly. Denmark based director Roberta Carreri keeps the momentum up and adds visual flare, as does impressive scenography and lighting from Fausto Pro. Arielle Zilkha’s musicscape of thudding drum, wistful piano, and a well selected opera aria, evokes longing and loss.

Writer: Juraj Benko

Director: Roberta Carreri