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Conrad Koch: White Noise
Conrad Koch: White Noise
Pleasance Courtyard, Until 28 August
by Gareth K Vile
When Conrad Koch speaks about his use of ventriloquism, he articulates a philosophy that recognises the potential of the puppet to address controversial, and often unspoken, ideas. However, Koch does not use his dummy to spout racism with a sly wink, or make excuses about how it is all just in fun. Rather, Chester is a formidable anti-racist who takes his master to task for the legacy of colonialism, ferociously and relentlessly attacking white privilege and deconstructing the global and domestic impact of historical injustice.
Koch has taken time to observe British politics: Boris makes an inevitable guest appearance, but the brilliance of the show lies in the way that South African politics become a metonym for the UK’s imperial oppression. White pride in tolerance, in making change, in being liberal is castigated, as Koch complains that he is not a racist while Chester thrusts home a series of deconstructions and counterarguments. Koch and Chester are having a necessary conversation about accountability, about the space between not being a racist and being an anti-racist.
And it is witty, it is good humoured, it is uncompromising. Chester is never charming, or cute, or pandering – although Koch manipulates the classic ventriloquist and dummy dynamic to reassure the audience. Rather, Chester attacks liberal pieties with the same uncompromising thoroughness. The odd fart gag aside, Koch’s intention is explicit: he eventually has to remind the puppet that this is supposed to be comedy.
In Anglophone culture, the harmless appearance of the puppet can be disruptive. In this satirical context, the predictable jokes about where the puppeteer has put their hand leads to a comment on how politicians treat the people. Chester is a restless puppet, being thrown around as if the rage cannot be contained, and Koch is toying with the audience’s familiarity with the format, compelled to play the foil to his dummy’s righteous outrage.
Four stars
