AN ENEMY OF THE PEOPLE at the Duke of York’s Theatre
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“The performances are superb. Matt Smith, as Dr. Thomas, owns the stage.”
Before Henrik Ibsen even became a playwright, he was well known for his controversial, anti-establishment opinions. His early works, and poetry, revealed his rebellious nature as he challenged convention and criticised society. His dramatic works cut deeper into the darker side, holding up a mirror to human nature and its inherent hypocrisies. Inevitably he was met with divided opinion. โAn Enemy of the Peopleโ was no exception, and Thomas Ostermeierโs modern adaptation (translated by Duncan MacMillan) looks set to be equally divisive.
Co-adapted by Florian Borchmeyer, the playโs structure is also two-sided; the interval acting as a sharp watershed between two very different landscapes, even though it overlooks the same, indeterminate, Middle England spa town. It opens with a song. The main players comprise a shaky, indie-folk-rock band, the initial conversations breaking away from the music then weirdly segueing into Bowieโs โChangesโ. It is difficult to determine whether this subplot has a purpose, or whether it is a surreal contrivance, but it soon gets forgotten anyway. The music is definitely not their day job.
Dr. Thomas Stockmann is the chief medical officer at the townโs spa baths. He has discovered that the spaโs water is contaminated. Wanting to do all he can to alert the citizens he enrols newspaper hacks Hovstad and Billing to run the story in order to prevent the town being poisoned โ possibly to death. He faces opposition in the shape of his brother Peter, the town mayor who sees the closure of the baths as the death knell to the town. There is tension too between Thomas and his wife Katharina, the local upstanding yet radical schoolteacher.
The dialogue bounces along breezily, occasionally bogged down with the earnestness of late-night-student-digs debates. Yet the writing recognises this pitfall and manages to pre-empt the charges and poke fun at itself. โYou sound like an undergraduateโ quips Thomas to Hovstad. The blackboard walls of Jan Pappelbaumโs set are strewn with pseudo-scholarly slogans, which are eventually whitewashed over โ figurately and literally. The arguments that are dished up, however, are chillingly pertinent and so close to the bone that there isnโt enough skin left to make crawl.
The performances are superb. Matt Smith, as Dr. Thomas, owns the stage. A lone wolf howling at the moon, his single-mindedness streaked with a naivety and good intentions, while Jessica Brown Findlayโs Katharina stands by him, despite being constantly at the end of her tether. Shubham Saraf, as journalist Hovstad, feeds Thomasโ fervour, encouraging his crusade like Lady Macbeth. Is he after the truth, though, or just a good story? His own quest for the truth dissolves in the saliva from the Judas kiss he plants on Thomas. Fellow journo Billing is ultimately equally disloyal – Zachary Hart giving an outstanding performance as the comic foil. There is much humour too in Paul Hiltonโs mayor, Peter. As smooth and slippery as an eel his words drip from his angular grimace. The naked face of capitalism and pragmatism that is all too familiar on our front pages. Katharinaโs father, Morten Kill, is an imposing figure in Nigel Lindsayโs hands. Bizarrely an Alsatian dog is also in his hands, presumably a metaphor for the dark, shady, business-minded aspects of Killโs character beneath the leftist veneer. The dog is too friendly and well behaved to pull it off, however. Conflicts of interest also plague Aslaksen, the newspaperโs publisher. Priyanga Burford brilliantly swings from devout, self-serving pragmatism to obsequious cowardice in a glorious deadpan and often funny performance.
The second act is a completely different beast. Much snappier and forceful, it is full to the brim with contemporary, post-Brexit, post-Covid references and up-to-the-minute echoes of modernist realpolitik. It rips down the fourth wall completely, inviting the audience into a โQuestion Timeโ scenario. It is obvious there are some plants in the audience, but the effect is immediate and chilling. The real coup is Matt Smithโs tirade at the podium. Brilliantly and convincingly delivered. Smith is flawlessly believable, earning his ovation, whether one agrees with him or not.
A paint splattered transition leads us into the final, short act. The journey there has been almost as messy as the stage now is (I pity the backstage crew) but it has been swaggering, anarchic and fearless. And we are rewarded with an unexpected hook. In the course of the last two hours is has been difficult to decide whether Thomas is an enemy of the people or an enemy to himself. A final twist – a mere meeting of eyes โ will help you decide.
AN ENEMY OF THE PEOPLE at the Duke of York’s Theatre
Reviewed on 21st February 2024
by Jonathan Evans
Photography by Manuel Harlan
Previously reviewed at this venue:
BACKSTAIRS BILLY | โ โ โ โ | November 2023
MUCH ADO ABOUT NOTHING | โ โ โ โ | February 2023
AN ENEMY OF THE PEOPLE
AN ENEMY OF THE PEOPLE
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