Last night I attended a preview performance of a Henrik Ibsen play “When We Dead Awaken.” Directed by Scott Sharrad for “Loc’ally Theatr” it is about to commence its season at the Star Theatres. May I say, right from the start of this review, it is very good indeed. It has been a number of decades since I have seen, read, discussed or written an essay on (!) an Ibsen play. Whist I know of this one (his last) I have never before seen it performed. Written and set at the very end of the 19th century its singular theme centres upon human relationships and the painstaking search for a reason for existence therein. Each of the four principal characters is trying to complete themselves and satisfy their own complex needs in their own individual way. Observing and listening to the unravelling of all of the above is a riveting experience.
The setting is a hotel atop a fjord within mountainous Norway where sculptor Arnold Rubek and his wife Maia are holidaying. They neither of them display any real sign of connubial bliss. Maia hints at a desire to be physically close to him whilst he deftly sidesteps that issue. They don’t embrace nor do they touch one another. Rubek mentions an “arrangement” they accepted when they married but it is not defined. However, one of the promises made was that he would take Maia to the top of a mountain so she might look out over the world. That has not happened. A hunter (preferably of bears) Professor Ulfheim wanders in bellowing back at his hunting dogs and demanding they be fed. “Bones, not much meat but plenty of blood.” Rubek is certainly not at all drawn to this character but Maia is, and in a reactive and visceral sort of a way. After some conversation she exits with Ulfheim to watch the dogs devouring their breakfast. Meanwhile a mysterious lady in white accompanied by a nun in black drifts past and ultimately makes a connection or rather a reconnection with sculptor Rubek. Who is she and where did she fit into his life? Is she a catalyst that precipitates a change in direction for each character? Is she the harbinger of their fates?
The stage setting is the deck of hotel and is quite sparse and utilitarian. Our attention is directed to a specific couple who, in turn, dominate each of the three acts. Lighting is well plotted and background sound as well as sound effects well chosen and modulated. The cast exudes a palpable like minded commitment to their characters and to the atmospherics of the piece. The small review audience perceived and fully appreciated their admirable ensemble work. Discipline and concentration reigned supreme throughout and both pace and timing was faultless.
Adam Bullmore as sculptor Rubek is most convincing as an artist who has seemingly reached his peak with his piece “The Resurrection Day.” He considers it his opus but now he wallows in a realm of creative stagnation that he seems powerless to overcome. Bullmore’s portrait of Rubek as an artist stumbling around looking for an answer, seeking a guide to once again achieve a feeling of fulfilment is well created. He makes subtle changes to his character’s world of indifference when Irene appears back into his life. Bullmore constructs a believable (if somewhat annoying and exasperating) character. Veronica D’Angelo brings a bright and intelligent vivacity to her portrayal of Rubek’s wife Maia. Her marriage lacks the passion that an artist should devote to their work and she has no interest in art anyway. She projects a persona in sharp contrast to the self-indulged introspection of her husband. D’Angelo makes effective use of the stage, demonstrates comfort in being thereon and addresses her audience with confidence and clarity. Whilst we might feel she deserves a better new admirer in her life than Ulfheim we know she possesses the wile and guile to get what she wants. It is a charming performance.
Scott Battersby as the hunter Professor Ulfheim (certainly not a professor of conservation!) is loud and somewhat boorish. Battersby aptly portrays him as a “Bear Dundee!”, a little larger than life, and with a knife! He knows his way around mountains. And, in uncharacteristic supplication to a haughtily resistant Maia reveals that he too is a man of means. He has a castle! Good diction and projection, a positive approach to his character portrayal and just a dash of the swashbuckle are the hallmarks of Battersby’s fine performance. Irene Von Satow is a tortured soul. It is likely she has always been so. However she is as articulate as she is emotional. Her imagery of death, of dying, of probable incarceration is not only well drawn but is poetically and finely delivered by Carolina Kaye. She produces a sustained performance that perfectly encapsulates her character. Kaye is exemplary as Irene. She is shadowed by Sister of Mercy (Meredyth Pettit) who might be her spiritual counsellor, her companion carer, her minder, or all of the above! Whatever the rather sinister Sister represents or is symbolic of, Irene is always mindful of her lurking presence. Adithya Abeywickrama has a cameo as the Inspector (manager) of the hotel.
The play begins strongly and ends in a manner befitting its language construct. The concluding scene is not only effective and dramatic it is also oddly poetic and inevitable. It is an event well realised by the production team. Loc’ally Theatr has assembled a talented and evenly balanced cast and can justifiably feel well pleased with the final product. I hope they play to full houses. They certainly deserve to.
