ROSMERSHOLM, To 5 July.
London.
ROSMERSHOLM
by Henrik Ibsen in a new version by Mike Poulton.
Almeida Theatre To 5 July 2008.
Mon-Sat 7.30pm Mat Sat 3pm & 18 June, 2 July 2.30pm.
Audio-described 28 June 3pm (+Touch Tour 1.30pm).
BSL Signed 19 June.
Captioned 1 July.
Post-show discussion 23 June.
Runs 2hr 50min Two intervals.
TICKETS: 020 7359 4404.
www.almeida.co.uk
Review: Timothy Ramsden 23 May.
Rare Ibsen very well done.
Adapter Mike Poulton and director Anthony Page show the topicality in Ibsen’s late play, without denying its place in summing-up concerns the playwright had voiced in earlier dramas, including the search for self-realisation behind A Doll’s House and the idea of an intellectual advanced guard in An Enemy of the People.
There’s a sense that truth, while vital, is dangerous, and can destroy; especially in a world of lies and manipulation. The topicality comes from the political debate around this search for realisation and truth.
Right-wing Kroll wants Rosmer’s family name for his cause; the Rosmer ancestors are lined-up in portraits, significant as General Gabler’s in his daughter Hedda’s home. Left-wing editor Mortensgaard wants Pastor Rosmer’s clerical credentials to influence Christians. Old Ulrik Brendel, impractical idealist, just wants a coat, drinking-money and a spare idea or two.
Paul Moriarty has a cheerful resignation as Brendel; Peter Sullivan gives his socialist editor a drily ruthless practicality. But Kroll’s the chief opponent, and Malcolm Sinclair brilliantly combines implacability with shock. Stiff-backed and dry-voiced, he sits assured of his views and Rosmer’s agreement, curdling to haughty contempt and mean allegations, spat-out when he discovers the ideological rift his former ally’s created.
Helen McCrory brings a soft-spoken, yet urgent sympathy to Rosmer’s intellectual companion Rebecca. Poulton’s version strongly implies the childhood maltreatment behind her mix of nervous manner and keen insistence. Alarm’s rarely far from her features, from the first moment she watches to see if Rosmer’s path home allows him to cross the mill-race he guiltily associates with his wife’s death.
Watching with her is Veronica Quilligan’s sure-minded housekeeper, a barometer of opinion as she comments and polishes. With this precision around him, however, Rosmer himself lacks energy. His striving towards a new life is weighted with liberal worries that overbalance towards weakness rather than purpose.
Still, Page’s penetrating production of a rarely-seen play, the fluctuating brightness and shade of Peter Mumford’s lighting on Hildegard Bechtler’s set, contrasting a middle-class home’s receiving and private rooms, and the sound of Gareth Fry’s near-subliminal mill-race, make a fine addition to this generation’s major Ibsen productions.
Rebecca West: Helen McCrory.
Mrs Helseth: Veronica Quilligan.
Doctor Kroll: Malcolm Sinclair.
Johannes Rosmer: Paul Hilton.
Ulrik Brendel: Paul Moriarty.
Peder Mortensgaard: Peter Sullivan.
Director: Anthony Page.
Designer: Hildegard Bechtler.
Lighting: Peter Mumford.
Sound: Gareth Fry.
Costume: Amy Roberts.
Assistant directors: Paul Higgins, Walter Sutcliffe.
2008-05-27 14:16:57