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Ibsen Stage Company
By Henrik Ibsen
Translated, adapted & directed by Terje Tveit Choreography: Finnuala Zurleni Pleasance Theatre 30 January – 17 February 2008 mpany
A review by Barry Grantham for EXTRA! EXTRA!
Over the last six months or so I have seen and reviewed a large number of plays, musicals, ballets, mimes and oh, yes, circuses, and I feel confident that the London fringe and non-commercial theatre is in very good shape; there is a continuous outpouring of achievement, expertise, and experimentation that is most satisfying to behold. The production of Peer Gynt at the Pleasance Theatre is part of this stream of creativity and it is not to discourage the cast, writer, and production team that I feel that I must say that on this occasion the presentation has largely failed.
The decision to update it to the 1930’s is mainly to blame. It adds nothing to our understanding of Ibsen’s masterpiece — that is apart from twenty minutes or so to a rather taxing 2 hours 55 minute playing time. The totally unnecessary routines – rather 1920, than 1930 – are uninspired and poorly executed, and in their attempt to be hilarious are merely vulgar, with raucous and undisciplined vocals with which the recorded music competed rather than accompanied. The period’s costumes are nothing but a hindrance and choosing to keep the cast on-stage throughout only added to the sense of claustrophobia engendered by the production and Pleasance’s tiny stage, and made any intimacy in the scenes impossible.
I do know the play – my first meeting with it was a radio broadcast that vastly impressed me as a fourteen year old boy. Above all, I remember the fantastic ‘Sleigh Ride’ toward death, near the end of the play, but I also loved the fantasy, the characters, and above all the near nihilistic philosophy throughout. I doubt that anyone seeing the play for the first time would gain a similar inspiration from the present production. Now, I know that the Ibsen play is in verse, but I am unqualified (understanding no Norwegian) to know how much rhyme it contains, but I am sure that whatever it is, it works in the original language — it certainly doesn’t work in English. Such repeated rhyme on rhyme is only permitted to the Demon and Fairy in pantomime and then we are relieved when they vanish in a puff of smoke. I can mention one member of the cast - Julian Bird, who cleverly manages to subdue the monotony of the rhyming by emphasising the non-rhymed words in the sentence. He brings some measure of tranquillity and authority to the general mayhem.
After the interval I steeled myself to face the second act, and I’m glad I did as I found some moments to enjoy and admire. And thankfully the 30’s musical numbers were soon abandoned. Individually there were some good comic character creations, like each of the four artists philosophising around the naked Peer Gynt and Stephanie Jory who produced an entertaining and well sustained Madame Begriffenfeldt. There was also a delightful ‘pen’, eager to sign a document – sorry, not sure which actor this was – and a brief and really clever sequence, well choreographed, with cups and saucers in a stylized and stylish vein. The ‘Sleigh Ride’ was well enough done to still move me
I am sorry to say that I must end in some further critical remarks. Firstly, the lighting, which tried to achieve effects not possible within the scope of the theatre; you just can’t make a dozen or so lamps do what can be achieved by the 500 at the National. It is advisable to eschew dramatic effect, minimise coloured light and just see that the actors are seen.
Secondly, I am on a campaign to make actors and directors aware of the sound ambience. Firstly, walking, running, dancing (tap and clog excepted), any kind of movement including setting and striking props on the stage should be absolutely silent. (a lot to be leaned from the Koreans recently at the Mime Festival). And further, that voice should always be modulated. In the eagerness not to fall into the sin of inaudibility there is a lot of shouting going on. Shouting and screaming should only be used in moments of extremis. There is a definite sensation which the actor will be aware of and that is when the voice cracks in the throat. This means, that the voice is wrongly produced and to continue in that could well mean temporary loss or even permanent damage.
Costume: Sally Winter & Julie Pedder
Lighting: Finnuala Zureni
Listings information
Dates: Wednesday 30 January – Sunday 17th February
7.15pm (5.15 pm Sundays, Saturday matinee 2.30 pm).
Venue: Pleasance Islington ,Carpenters Mews, North Road, London N7 9EF.
Tickets: £10 (concessions £8).
Box Office: 0207 609 1800 www.pleasance,co.uk
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