Ghosts by Henrik Ibsen
at Soulpepper in Toronto
Henrik Ibsen has been very controversial, if not outright
shocking, to the European audiences at the times of 1850 to 1899
when he wrote his famous plays: Hedda Gabler, A Doll’s House, An
Enemy of the People and Ghosts. The subjects he had chosen were
very controversial in the ultra-conservative Norwegian society,
be it hidden secrets never talked about: mental illness,
illegitimate children, or possibly a VD. Those were not the
topics to be mentioned. He started the path for the modern
theatre eventually followed by George Bernard Shaw, Eugene
O’Neill and Arthur Miller. His plays are classics, respected and
anticipated in modern times. This was not the case when they
were put on stage initially.
New translation, adaptation and direction taken by Morris Panych
is breath taking and worthy of Soulpepper’s ambitions – to be
one of the best repertory theatres in Canada. The dialogues are
modernised, so we do not feel like sitting in 19th century
living room, the costumes and décor as good as they are – are
irrelevant.
It is one of those tales about dysfunctional family and deep
family secrets. A widow, Helen Alving, played by Nancy Palk, is
finalizing the arrangements of setting up an orphanage funded
from the estate of her late husband. Local Pastor (Joseph Ziegler) is assisting with the arrangements. She
is segregating the funds inherited from her husband from any
other in order to protect her son Oswald (played by Gregory
Prest) from any connection with the late father, who was
physically abusive, immoral, possibly mentally ill. Pastor
Manders is a representative of duty, sacrifice and guardian of
appearances. His moral statements are very much mid-19th century
concepts, his shock and surprise at the disclosed family secrets
exceedingly natural. The role of Oswald is also presented well,
more implying continuous inherited problems than identifying
them. But the best part is unconditionally Mrs.Alving, cool
until the final scene, collected, organized, with her own
opinions and her own plans. Nancy Palk is excellent!
The colour scheme of the stage décor and costumes – unending
shades of grey, the background of huge glass panes showing only
semi-darkness outside together with continuous sound of rain -
are meaningful and complete the play. Ken MacDonald, Dana
Osborne and Thomas Payne deserve special mention for their
creative efforts.
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