Lorna Irvine reviews a modern adaptation of a classic which 'fails to ever really ignite'.
Megan Barker's modern adaptation of Henrik Ibsen's 1881 play Ghosts looks hefty—initially at least: transposed to the present day in the North of Scotland, with a story of political corruption, child abuse and benevolence built on lies, which centres on pompous, if flawed, councillor Helen Alving (a wonderful Alison Peebles), a shameless social climber.
Sadly, the promise of the first twenty minutes is swiftly undone. Exposition piles up like Jenga, and the production is ragged with crime noir clichés and braying actors, such as Alving's wayward son Oswald, played by John Hogg. Back home after years away making films, he is somewhat one-note. More subtlety should be required in the confrontation with his selfish mother, who sent him away as a child to further her own interests. He simply yells and scoffs. Helen's old lover, venal politician Martin Manders, is not much better, played by Laurie Ventry as almost pantomime villain.
The extended metaphor of hunted deer is constantly reiterated, to the point of tedium, as though the connection between human and animal vulnerability is difficult to make—although the imagery is absolutely beautiful. Sergey Jakovsky's eerie lighting and the set design by Neil Warmington is effective, evoking chilly landscapes where lost souls wander. Kim Beveridge's AV Design adds a haunting layer.
It is such a shame, then, that only Alison Peebles and co-star Billy Riddoch as bumbling Jacob Engstrand emerge with any real credibility here. Peebles has froideur and passion alike, and Engstrand is a welcome comic foil with his un-PC pronouncements and drunken singing.
Yet it fails to ever really ignite. Ibsen—and Tron audiences—deserve much, much better.
At Tron Theatre, Glasgow until 24th October.
www.tron.co.uk
RSS