Displaying items by tag: Nassim Soleimanpour

"White Rabbit Red Rabbit" isn’t your typical night at the theater. It’s unscripted, unpredictable, and unlike anything you’ve seen before. Performed cold by a different actor each night, it’s a play that blends humor, vulnerability, and a quiet kind of bravery—both from the performer and the audience.

There are plenty of ways to spend a Sunday or Monday evening, such as relaxing on the couch, cooking something ambitious (or just heating up leftovers), maybe taking a stroll through the park. I, however, choose to spend my Monday night at one of the most surprising and engaging plays I’ve ever experienced. I head over to TUTA Theatre to see White Rabbit, Red Rabbit by Iranian-German playwright Nassim Soleimanpour. Safe to say, I have absolutely no idea what I’m getting myself into.

"White Rabbit Red Rabbit" is an experimental play performed “cold” by a different actor at every show. The catch? The actor has never seen the script beforehand. There’s no rehearsal, no director, and barely even a set. It’s theatre stripped down to the bones: one actor, one script, one shot. Unable to leave his home country, Soleimanpour offers a deeply personal glimpse into his life in Iran and the complex power dynamics at play, not just there, but everywhere.

As the show begins, the actor for the night, Huy Nguyen, opens a sealed envelope containing the script. He introduces himself, then asks the small audience to count off. It’s Soleimanpour’s way of making sure we all know how many people are about to go on this strange little journey together. Final headcount: 30.

Right from the start, it’s clear Nguyen is a gifted performer. He delivers each line with power and clarity, pausing just enough to let the weight or the weirdness of the words sink in. Through his performance, he brings Soleimanpour’s voice to life, striking a balance between humor, tension, and vulnerability with impressive ease.

TUTA company member Huy Nguyen (left) with audience member Robert Bry Hunter.

Those numbered seats aren’t just for counting heads. Nguyen, following Soleimanpour’s instructions, pulls audience members into the performance. Like it or not, we aren’t just watching the play, we become part of it. Each person is assigned a number, a role, and, weirdly enough, a sense of shared responsibility. Before long, the stage fills with everyday people acting out a strange and quietly heartbreaking tale about a rabbit trying to get into a circus. It feels whimsical at first, but the deeper metaphors quickly surface. These surreal moments offer a glimpse into the constraints Soleimanpour faces, using allegory to explore themes of power, obedience, and isolation.

As the performance continues, it becomes clear that "White Rabbit Red Rabbit" is more than just a theatrical experiment. It creates a deeply personal connection with Soleimanpour as he reaches out to share his trauma and vulnerability with the audience. The play explores what it means to lose power not only as a citizen but also as a performer and audience member. Soleimanpour expresses his strong desire to travel and meet the people watching, to connect fully through shared experience. Throughout the show, Nguyen beautifully captures the deep emotions and longings at the heart of Soleimanpour’s story.

One of the wildest things about "White Rabbit Red Rabbit" is how it keeps you laughing. . .until it doesn’t. One minute, Nguyen is running around the stage pretending to be an ostrich. The next, he’s calmly listing ways people commit suicide. It’s emotional whiplash in the best (and most jarring) way. That sudden shift from comedy to darkness really shows the inner chaos Soleimanpour must have been dealing with. He’s clearly trying to make sense of heavy stuff while still holding on to humor and hope.

This was my first time seeing a “cold read” performance, where the actor hasn’t seen the script before stepping on stage. I was genuinely impressed. The whole thing felt unpredictable, not just for the audience but for the actor too. It created this weirdly intimate vibe where we were all discovering the story together. Surprisingly, nothing felt awkward or forced. Nguyen handled it all like a total natural, even in the most bizarre moments. The rawness of the format made everything feel immediate, real, and kind of thrilling.

I highly recommend "White Rabbit Red Rabbit" to anyone who’s spontaneous and looking for something completely different. It’s a one-of-a-kind experience that keeps you guessing. That said, I’d think twice about bringing kids or anyone who might be uncomfortable with sensitive subjects, especially suicide. The show does dive into some heavy themes that may not be for everyone.

The show has a fast runtime of about 70-90 minutes without any intermissions. Make sure to eat dinner before as the small theatre doesn’t have any concessions but do offer drinks in exchange for a theatre donation.

The production is presented by TUTA Theatre, a company known for its bold and experimental approach to theater in Chicago. The show is brought to life by TUTA’s Co-Artistic Director, who also serves as the Artistic Producer for "White Rabbit Red Rabbit."

TUTA Theatre is located at 4670 N Manor Ave in Chicago’s Ravenswood neighborhood. It’s an intimate space, with the show staged in a small back auditorium through a garage entrance. The venue seats about 30 people, which makes the whole experience feel up close and personal.

"White Rabbit Red Rabbit" runs from July 6 through August 11, with shows on Sunday and Monday evenings at 7:30 p.m. Tickets range from $20 to $60. You can grab yours at tutatheatre.org.

*Extended through September 29th

So if you’re free on a Sunday or Monday night, skip Netflix and take a chance on something different. You might walk away thinking a little deeper…and may even begin looking at rabbits a little differently, too.

*This review is also featured on https://www.theatreinchicago.com/!