Interview: Director Michael Michetti of EXIT THE KING at A Noise Within
May 9 – May 31, 2026
Eugène Ionesco (1909–1994) was a Romanian-French playwright and one of the leading figures of the Theatre of the Absurd. Rising to prominence in the 1950s with “anti-plays” such as The Bald Soprano and The Lesson, he used surreal humor, illogical dialogue and bizarre situations to explore the absurdity of human existence and the fragility of communication.
KT Vogt, Henri Lubatti, Erika Soto and Lynn Robert Berg
All production photos by Craig Schwartz
A Noise Within is presenting Ionesco’s Exit the King, wildly funny and deeply human meditation on mortality, translated by Donald Watson and directed by Michael Michetti. The production runs May 9 through May 31 at the company’s home in Pasadena. Low-priced previews began May 3. The play centers around King Berenger (Henri Lubatti) who has ruled with absolute power, so why should the rules of death apply to him? But it’s his last day on Earth, and he refuses to accept it.
KT Vogt, Lynn Robert Berg, Henri Lubatti, Joy DeMichelle,
Ralph Cole Jr. and Erika Soto
As the king stubbornly denies the inevitable, his crumbling kingdom is held together by an eccentric court: his formidable first wife (Joy DeMichelle), his devoted second wife (Erika Soto), and a band of increasingly bewildered attendants (Lynn Robert Berg, Ralph Cole Jr. and KT Vogt). Absurd, witty and unexpectedly touching, this modern classic becomes a poignant and surprisingly joyful reminder that even kings must face their final curtain.
I spoke with director Michael Michetti (pictured) about his vision for the production, what first drew him to it, and how elements of clowning are being used to highlight Ionesco’s surreal humor.
Thanks for speaking with me, Michael. What initially drew you to Eugène Ionesco’s Exit the King?
I had read the play years ago, and I’ve always been attracted to its quirky mix of comedy and very profound, existential ideas. I had pitched it years ago as a possible production for A Noise Within, but it didn’t fit in the season at the time. In retrospect, I’m glad it has come around at this moment in my life. It feels right for this moment of absurdity in our world, and the theme of mortality resonates with me even more deeply now than it did when I first pitched it to Geoff and Julia.
Ralph Cole Jr., Erika Soto, Lynn Robert Berg,
Henri Lubatti and Joy DeMichelle
The play begins as a rollicking comedy but gradually becomes deeply moving. How did you approach its blend of dark comedy and existential reflection to guide the cast in navigating that tonal shift effectively?
Yes, that’s the big challenge in this play. It refuses to be stylistically defined, and while the characters and overall arc remain consistent, the journey is full of surprises and stylistic shifts. Our approach has been to try and keep the performances truthful even when the circumstances are seemingly ridiculous, so there’s a note of honesty beneath even the most heightened and farcical moments.
Ralph Cole Jr., Joy DeMichelle, Henri Lubatti and Lynn Robert Berg
Ionesco’s themes of loneliness, mortality, and the human search for meaning are timeless. How did you approach making these ideas feel immediate and personal for today’s audience?
To be honest, I didn’t even think about that. As you said, the themes are timeless, and the human challenge of grappling with mortality is ever present. There are some political parallels to this moment which are obvious and undeniable, but ultimately the most important thing to me is mining the humanity in these characters who are all struggling with impending death. It is the evergreen nature of this theme that most attracts me to Exit the King.
KT Vogt, Erika Soto, Lynn Robert Berg, Henri Lubatti,
Joy DeMichelle and Ralph Cole Jr.,
Ionesco’s work is known for absurdity and surrealism. What challenges did you face in staging these elements while keeping the story emotionally resonant?
One of the ideas behind absurdism is that by changing the rules of the world, by surprising audiences with a world that seems to be parallel to the one we know but is somehow askew, that they look at our world in a new way. And I know that when I have had to deal with death of loved ones, there’s often a sense that the world is unfamiliar and unsettling in a way that can feel both absurd and surreal.
Ralph Cole Jr., KT Vogt, Lynn Robert Berg and Henri Lubatti
Clowning consultant Matt Walker is part of the creative team. How does the incorporation of clowning techniques enhance the humor and humanity in the production?
Ionesco calls for physical comedy and humor in his play, so the inclusion of Matt on our team has been a real blessing. His job has been to help us mine the humor, make sure it’s safe and repeatable (as in the case of falls, for instance), and to keep the humor based in the characters and circumstances so that there’s an underlying honesty even when the humor is ridiculous.
KT Vogt, Lynn Robert Berg, Henri Lubatti, Joy DeMichelle,
Ralph Cole Jr. and Erika Soto
How do you interpret King Berenger’s refusal to accept his own mortality and what do you hope audiences take away from his journey?
I think Berenger’s denial of his impending death is a very common and relatable reaction. We unfortunately avoid the topic of death too much in our culture, pretending that it’s not a part of the experience of living. And in Berenger’s refusal to accept his death, he behaves both in a way that is comically ridiculous, and also very human and familiar. Ionesco said he hoped the play would be an “apprenticeship in dying,” so we can maybe be prepared for our ultimate demise in a way that’s a little more dignified and peaceful than we see in Berenger’s journey.
KT Vogt, Henri Lubatti, Lynn Robert Berg
Erika Soto, Joy DeMichelle, Ralph Cole Jr.
Let’s chat about the cast. King Berenger’s court is made up of just three attendants, each with distinct personalities. How did you work with the actors to highlight their quirks and maintain comedic and emotional clarity with such an intimate ensemble?
Well, a lot of that happened in the process of casting. Alison, our casting director, and I wanted to make sure that the three attendants were all unique and distinctive, with a great variety in physicality, vocal quality, comedic approaches, etc. And in Ralph, Kate and Lynn, we’ve got a fabulous little ensemble of clowns.
KT Vogt, Henri Lubatti, Lynn Robert Berg and Erika Soto
How did you collaborate with the design team—scenic, lighting, sound, and costumes—to create your vision for such a surreal play to reflect both its absurdity and poignancy?
I am thrilled to be working with a team of designers all of whom are cherished collaborators and superb artists. They have worked together seamlessly and helped create a world that is beautiful and quirky and just a little bit off. This production, with a cast of only six, feels rich and beautifully rendered thanks to my brilliant design team and the staff at A Noise Within who have helped make it all happen.
Joy DeMichelle and Henri Lubatti
A Noise Within emphasizes audience engagement through discussions and educational programs. How do you envision post-show conversations enhancing viewers’ understanding of Exit the King?
I can’t wait to hear those conversations and hear from the audience what they’re getting from this play! I think Ionesco has written a play that allows each audience member to receive something different from it. I want the audience to tell us what they got from the play and I’m so eager to hear their responses.
Thanks so much, Michael.
Thank you, Shari!
Performances of Exit the King take place May 9 through May 31 on Thursdays, Fridays, and Saturdays at 7:30 p.m., with matinees on Saturdays and Sundays at 2 p.m. (no matinee on Saturday, May 9). A one-hour INsiders Discussion Group will take place prior to the matinee on Sunday, May 10, beginning at 12:30 p.m. Post–performance conversations with the artists will take place every Friday (except the preview on May 8) and on Sunday, May 17. Student matinees are scheduled on select weekdays at 10:30 a.m.; interested educators should email education@anoisewithin.org.
Tickets start at $41.75 (including fees). Student tickets start at $20. Discounts are available for groups of 10 or more.
A Noise Within is located at 3352 E Foothill Blvd., Pasadena, CA 91107. For more information and to purchase tickets, call (626) 356–3100 or go to anoisewithin.org.
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