Ghosts - Ibsen (David Watson)
RATING ★ ★ ★
Directed by Polly Findlay
Home, Manchester - showing until 03/12/16
Ibsen's Ghosts was first performed in London in 1891 and since this date, a whole raft of productions have occurred in theatres across the UK. In 2013, I saw my first production of Ghosts in which Richard Eyre stayed loyal to Ibsen's script where set, costume and language were all in the vein of the 19th century society in which Ghosts was originally set. It was therefore a refreshing surprise to learn that Watson and Findlay had decided to modernise this classic text to a 21st century setting.
The set resembled a dishevelled country house, with the main section being the Alving's sitting room with a kitchen, dining room, bedrooms and bathrooms leading off the stage, just visible to the audience. The set was a true feast for the eyes, intricate and carefully designed allowing the audience to be transported into Mrs Alving's world of lies and secrets. Every corner of the stage was decorated, with mirrors carefully positioned meaning that none of the action was lost if happening in one of the rooms further offstage. A truly incredible creation by Johannes Schutz.
Ghosts is centred around reputation, loyalty to the church, acceptance of mental illness and a skewed perception of honour. This twisted tale of family relations was sensitively upheld by the entire ensemble. Niamh Cusack carried the role of Mrs Alving with poise and depth that shone throughout the performance. The pastor, played by Jamie Ballard, brought a tangible sensitivity, making me see new layers to this character that were invisible to me in the 2013 production.
Whilst the characterisation and set were nearly faultless, my difficulties lie specifically with the adaptation that Watson and Findlay have brought to the table. The aforementioned themes that are so intrinsic to Ibsen's writing, lose sense in this modernised play. In 19th century Norway, the laws and perceived moralities that Ghosts examine are mostly irrelevant in today's society. Mental illness, especially Dementia, is named and accepted, and the ideas of the family home are far different from one hundred-and-fifty years ago. What was presented to the audience was an usual mix of modern language, including swearing, and the original text with references to 21st century life. Whilst I was convinced by the acting, greatly accompanied by the brilliant set, this combination of eras was confusing and I would be interested to hear from Findlay as to her decision for crafting the play in this way.
I am a huge fan of Ibsen, and whilst I unpick the language in this adaptation, I was still enticed and moved by the production. The inner turmoil suffered by each character was impressively expressed, in an unravelling world where previous certainties are turned on their head and become unstable truths.
RATING ★ ★ ★
Directed by Polly Findlay
Home, Manchester - showing until 03/12/16
Ibsen's Ghosts was first performed in London in 1891 and since this date, a whole raft of productions have occurred in theatres across the UK. In 2013, I saw my first production of Ghosts in which Richard Eyre stayed loyal to Ibsen's script where set, costume and language were all in the vein of the 19th century society in which Ghosts was originally set. It was therefore a refreshing surprise to learn that Watson and Findlay had decided to modernise this classic text to a 21st century setting.
The set resembled a dishevelled country house, with the main section being the Alving's sitting room with a kitchen, dining room, bedrooms and bathrooms leading off the stage, just visible to the audience. The set was a true feast for the eyes, intricate and carefully designed allowing the audience to be transported into Mrs Alving's world of lies and secrets. Every corner of the stage was decorated, with mirrors carefully positioned meaning that none of the action was lost if happening in one of the rooms further offstage. A truly incredible creation by Johannes Schutz.
Ghosts is centred around reputation, loyalty to the church, acceptance of mental illness and a skewed perception of honour. This twisted tale of family relations was sensitively upheld by the entire ensemble. Niamh Cusack carried the role of Mrs Alving with poise and depth that shone throughout the performance. The pastor, played by Jamie Ballard, brought a tangible sensitivity, making me see new layers to this character that were invisible to me in the 2013 production.
Whilst the characterisation and set were nearly faultless, my difficulties lie specifically with the adaptation that Watson and Findlay have brought to the table. The aforementioned themes that are so intrinsic to Ibsen's writing, lose sense in this modernised play. In 19th century Norway, the laws and perceived moralities that Ghosts examine are mostly irrelevant in today's society. Mental illness, especially Dementia, is named and accepted, and the ideas of the family home are far different from one hundred-and-fifty years ago. What was presented to the audience was an usual mix of modern language, including swearing, and the original text with references to 21st century life. Whilst I was convinced by the acting, greatly accompanied by the brilliant set, this combination of eras was confusing and I would be interested to hear from Findlay as to her decision for crafting the play in this way.
I am a huge fan of Ibsen, and whilst I unpick the language in this adaptation, I was still enticed and moved by the production. The inner turmoil suffered by each character was impressively expressed, in an unravelling world where previous certainties are turned on their head and become unstable truths.