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| Peter James Smith Jocelyn Towne |
Ibsen to Bergaman through The Markers to Watson at Antaeus in Glendale is in living color though most memories of Bergman recall shades of gray. Diversity casting in Ibsen's chilly Norwegian Christmastide via the Swedish master of cinema provides an opportunity for Classic Theatre out of the starting gate at a very brisk pace. We still get the gist of the sttory and the 'feeling' that must have been shocking in 1889.
Forty odd years ago, Frederick J. Marker and Lise-Lone Marker took on the task to condense Igmar Bergman's version of Ibsen's classic drama for the stage. I wonder what The Markers would think of this 21st Century's take on the play today? Or Mr. Bergman? My best guess is that Ibsen would approve.
On Tesshi Nakagawa's exquisite yet oddly open set, I got a slightly Brechtian feeling, seeing characters transitioning from one scene to another. The actors' extremely high energy had every character full throttle, which must be Watson's intention. Nuance takes a back seat to getting the energy of the play moving.
As Nora, lovely Jocelyn Town, exhibits the carefree money orientd flibberty gibbet with nary a care until a villain, Krogstad, (Michael Kirby) arrives with a double whammy.
In his program notes, director Watson, discusses the business of how Ibsen created characters that seemed to be drawn from real life: human beings (as Nora declares herself to be) with whom the audience may share feelings. Indeed, as each character arrives, there are hearts on sleeves and clearly drawn lines of demarcation as Nora's story of independence unfolds.
The issue of reputation and moral fortitude factors in with Nora standing her ground regarding the business deal she has engineered to save her husbands's life. Prodded by her old friend Christine (Mildred Marie Langford) Nora is urged to step up and to be honest with her husband, Torvald (Brian Tichnell). Later, we find out Christine has a former connection with Mr. Krogstad, who holds the key to freedom for Nora.
Dr. Rank, Peter James Smith, fawns at Nora's feet, his feelings adjunct to his physical "bankruptcy": another opportunity for strong empathy as he shares with Nora his undying devotion.
Either by Bergman or the Marker's, the inevitable showdown between Nora and Torvald has been changed dramatically from the original text, Recalling Watson's gratuitous 'full monty' in the Antaeus production of Cat on a Hot Tin Roof, we may be led to believe that the couple, after the costume party, may have spent the night together? Torvald's stripping seems unnecessary, though it does create tension and emphasizes the vulnerability he has never experienced. Perhaps, being naked may be symbolic, adding to the moment where Nora declares for herself and makes her dramatic exit.
Every performance features extraordinary delivery at a high octane pace. Watson's fluidly choreographed stage pictures add beautifully to the theatricality of the piece.
Jeff Gardner's impressive lighting design and beautiful 19th Century costumes by Jared A. Sayeg are outstanding. Aaron Lyons's sound design recalls impressive rumblings, literally shaking the theater.
CAST:
NILS KROGSTAD: Michael Kirby*
MRS. LINDE: Mildred Marie Langford*
DOCTOR RANK: Peter James Smith
TORVALD HELMER: Brian Tichnell
NORA: Jocelyn Towne*
Production Team
Cameron Watson
Tesshi Nakagawa
Terri A. Lewis
Jared A. Sayeg
Jeff Gardner
Aaron Lyons
Carly DW Bones
Jean Michelle Sayeg
Ellen Mandel
Talya Camras
Max Tel
Casey Collaso
NORA:
via Inmar Bergman from Henrik Ibsen
Translated and Adapted
by Frederick J. Marker and Lise-Lone Marker
Directed by Cameron Watson
Antaeus Theatre Compay
Kiki & David Gindler Performing Arts Center,
110 East Broadway
Glendale,
CA 91205
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