What is it that continues to keep the works of Henrik Ibsen constantly on the world's stages? His dialogue rarely sparkles with rich poetry, his exposition is clunky and obvious, his plots can be somewhat fantastic, even contrived. And yet the ideas behind each individual work are breathtaking in their perception of the human mind and state of being. In addition, his ability to make what are generally internal thought processes into external action is extraordinary. These two facts alone are enough to give his works a resonance that makes them as powerful today as they were when they were first produced over a hundred years ago.
The Century Center Ibsen Series continues its ambitious project
of presenting all 12 of Ibsen's major works with The Lady From
The Sea, a spellbinding examination of the power of obsessive
memory, free will, forgiveness and redemption. Ellida Wangel,
though married to a kind and loving doctor, continues to be haunted
by memories of a past love, memories that bring her to the brink
of insanity.
One might miss the sense of discovery and wonder that permeated
their The Wild Duck last spring, but nevertheless Alfred
Christie's gently traditional approach was a moving experience
that traded thrilling theatrical invention in favor of subtle
intelligence and grace. Everything bespoke the extreme care and
good taste that went into its making, and the result was an intriguing
evening that provided, in the words of Ibsen scholar Rolf Fjelde,
"conflict that resonates with all the contrasting values
of land and sea: the fixed against the fluid, the defined against
the indefinable, the predictable against the unknown."
Using Fjelde's translation, Christie did make some judicious cuts
to the text without any discernible damage, and elicited strong
performances from his talented ensemble. Laurena Mullins,
despite some obvious acting choices early on, grew stronger as
the evening progressed and ultimately made a touching Ellida,
a mixture of vulnerability and strength playing off each other
with the force of the sea that both fascinates and tortures her
so relentlessly. Jennifer E. Corby, Tina Jones,
and Steve Witting, as the doctor's daughters from a previous
marriage and their former tutor, contributed the most consistently
excellent work, particularly Witting, an actor of considerable
ability.
Tim Goodmanson's set, Peter Petrino's lighting,
and Sydney Maresca's costumes were all exquisite. Looking
like a Maxfield Parrish painting, the production's dreamlike design,
along with John Littig's superb sound design, added to
the contrasting moods of both Ibsen's play and Christie's interpretation
of it.
Elegantly directed, well-performed and visually beautiful, this
Lady From The Sea may not have been the most original or
revelatory production, but it stood as a testament to the very
real pleasures to be had from an evening of intelligently wrought
theatre, as well as the continuing power of the "father of
modern drama," Henrik Ibsen.
(Also featuring Christopher Burns, Jay Gould, and
Larry Petersen)
Box Score:
Writing: 2
Directing: 2
Acting: 2
Set: 2
Costumes: 2
Lighting/Sound: 2
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Copyright 2000 Doug DeVita