THE 1041C Theater Reviews

Mike Poulton’s adaptation of Henrik Ibsen’s Rosmersholm is one that is both dynamic and emotional. A compelling story of a former clergyman’s abandonment of religion and adoption of more progressive political thought, this tale of power and morality transcends the time in which it was set.

The keystone of the production’s success can be found in its excellent casting. Bradford Cover was able to deliver a compelling performance as title character Johannes Rosmer. Equally captivating was Margot White as the clever and manipulative Rebecca White. Though her mechanical performance during the first scene seemed to contradict the ideals of the naturalist playwright, her latter scenes were genuine and on the mark. The chemistry between the two leads was enthralling, and served as a very accurate portrayal of the emotional twists and turns the couple faces throughout the course of the play.

The unconventional seating employed by the theater, with seats in front and on two sides of the stage, allowed a good portion of the audience to view the actors from a unique vantage point, and read emotions and interactions between characters that would normally be hidden to traditionally-seated viewers. Director Elinor Renfield should be commended for her excellent choice of blocking in light of this complex setting. All three sections of the audience were done justice.

The set design was simple and resembled a sitting room for a great portion of the play. However, during the act in which Rosmer is digesting Rebecca’s shocking revelation, the set is changed to match the inside of Rosmer’s bedroom. The clever use of lighting to create the effect of light peeking through the blinds enhanced the magnitude of emotion in this penultimate scene.

The wardrobe employed by the actors complemented the color scheme of the set. Particularly note-worthy in the costume department was Ulrik Brendel’s (Dan Daily) attire as the vagabond, childhood tutor of Rosmer. The ripped clothing and strategic smearing of dirt on his overalls created a highly convincing impression of disheveled homelessness.

In addition, the content of the production was exceptionally true to the original script. Nevertheless, the production did not have to deal with overcoming time-barriers, as many of the play’s political discussions and debates are every bit as relevant in the late nineteenth century as they are today. The question of whether or not morality and ethics can survive one’s abandonment of religion is a recurring theme explored in the play, and is ultimately left up to the audience to decide.

A faithful adaptation of Ibsen’s naturalist masterpiece, The Pearl Theatre Company was successful in retelling this timeless tale.