Review: PUFFERFISH, VAULT Festival

Pufferfish marks Nick Bruckman's debut as a playwright. Based on the real-life deeds of serial killer Jeffrey Dahmer, the play explores the strong link between violence and sexuality that pushed him to take the life of 17 men in the 80s.

A marble altar designed by Charlotte Espiner hosts Dahmer (Jackson Milner), Chris (Arian Nik), and his sister Anne (Asha Reid) as they tell their twisted story. Mannequins made out of the same material hang like cuts of meat from the ceiling, creating a hair-raising and aptly puzzling atmosphere.

With his thick glasses, oversize polo shirt, and awkward manners, Milner delivers a man who is secretly fascinated by death and the human body. He comes into himself when he painstakingly describes his sickening aptitude to be turned on by dismembered bodies. He declares his utter enchantment with organs and how they feel when they touch the skin, giving off dangerous vibes and a curious charm.

Albeit presenting a picture of Dahmer that doesn't necessarily humanise him, Bruckman's logic behind his storytelling isn't too clear. Anne acts as a rational anchor to her brother's attraction to the murderer but her point of view isn't vital to the story and becomes a nuisance rather than being of impact.

The narrative is cohesive on the protagonist's end but has the tendency to be scattered when the siblings are concerned. This doesn't, however, hinder the appeal of Pufferfish too much. The character arcs are well-rounded and definite on their own but the vicinity of the two parallel relationships clutters the stage.

Thematically, Bruckman largely focuses on the criminal's sexuality painting a person with obsessive needs that willingly lead to horrific acts. Director Ng Choon Ping experiments vividly with this vision, which - even if not yet perfect - is compelling and peculiar, and turns Pufferfish into the vivisection of an intriguing human being.

Pufferfish runs at VAULT Festival until 10 March.

To post a comment, you must register and login.