Duke of York’s Theatre
Reviewed – 28th May 2019
“Terera has a magnificent presence between the glib walls of Rosmersholm”
This timely revival of one of Ibsen’s least performed plays is an astonishing study of moral guilt, political struggle and the omnipresence of the past. Reminiscent of his earlier work ‘Ghosts’, this shows Ibsen at his dark and daring best. Duncan Macmillan’s adaptation of Karin and Anne Bamborough’s literal translation delivers Ibsen into the twenty-first century, creating a witty, if not a little wordy, drama for our times.
Weighed down by the memory of his dead wife, John Rosmer (Tom Burke) shares his vast estate with a “liberated woman” in the form of Rececca West (Hayley Atwell), his former wife’s former friend. Rosmer’s brother-in-law Andreas Kroll (a superbly on-form Giles Terera) has political aspirations, but his call for support is radically rebuffed as Rosmer turns his attention to the progressive politics of Peter Mortensgaard (Jake Fairbrother). Invoking concepts such as representational democracy and ‘the will of the people’, MacMillan makes sure this play speaks to the current climate, and some knowing chuckles from the audience suggested this relevance did not go unnoticed. Kroll is a fascinating figure, charmingly aristocratic yet stubbornly conservative, and Terera has a magnificent presence between the glib walls of Rosmersholm.
At the heart of the drama though is Rosmer and West’s relationship: can they break free of the past and learn to love each other? Rae Smith’s stunningly decrepit design makes it seem unavoidable. Portraits of the Rosmer family cover every wall, a constant reminder to John of his family’s legacy. Neil Austin’s lighting is similarly evocative, with striking shafts of light breaking through the dusty windows to expose the age and dereliction of this once great home.
Ian Rickson’s production will please West End crowds looking for a timely reminder that politics runs in circle. Rosmer and West struggle to forget the past – are we too quick to? Although I’m no fan of weighty naturalism, with a gorgeous set and memorable performances, this production has plenty to offer.
Reviewed by Joseph Prestwich
Photography by Johan Persson
Duke of York’s Theatre until 20th July
Previously covered by this reviewer:
Donal The Numb | ★★★★ | The Vaults | March 2019
Queer Trilogy | ★★★ | Drayton Arms | March 2019
Awkward Conversations With Animals … | ★★★★ | King’s Head Theatre | April 2019
Swimming | ★★★★ | White Bear Theatre | April 2019
The Wasp | ★★★★ | The Space | April 2019
Twelfth Night | ★★★ | Rose Playhouse | April 2019
Harper Regan | ★★★★ | Tabard Theatre | May 2019
Scripts for Supper: The Wind in the Willows | ★★★★★ | Stepney City Farm | May 2019
Why The Child Is Cooking In The Polenta | ★★ | Gate Theatre | May 2019
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