Pillars of the Community by Henrik Ibsen

IMG_5197.JPG
Originally uploaded by dwri.

January 6, 2006
Lyttelton Theatre, London, UK

It is easy to understand why Pillars of the Community was the first of Henrik Ibsen’s plays to be performed internationally, and further, it clear as to why it is still being performed in the heart of London’s theatre scene more than one hundred and twenty-five years later. Dubbed the “Father of Modern Drama,” Ibsen’s work deals with significant social issues, but the beauty of his writing is that he seamlessly incorporated pertinent, relevant and substantive material into an already established, successful and formulaic style. The writing, as confirmed by its continued existence, is intelligent and creative, capable of translating to a modern audience. The January 6, 2006 performance of the play at the Lyttelton Theatre was solid from the acting to the lighting to the overall scenery and staging.

Directed by Marianne Elliott, the show transitioned well, did not drag in unexpected places, and for the most part illuminated the key messages of the play to the audience cleanly and effectively. Staged in a box set to emphasize the period of realism in which the play was written, most of the action took place on a stage decorated to recreate a room. Good scenic design should emphasize two parameters: first, to express a play’s qualities, and second, to aid audience understanding. By staging the play in a box set, both requirements were met, as the audience viewed a performance amidst a true backdrop, with tangible walls. The implementation of a box set made the performance come across more like a movie, played out in true rooms as opposed to the stage. I personally favor a play to embrace the fact that it is a performance, with all the nuances that live performance encompasses as opposed to trying to ignore the theatrical elements that can become so magical when overstated. However, performing the work in the context it was written allowed the performance to showcase realism, or an attempt to portray faithfully the surface appearance of life. I felt the use of lighting aided the portrayal of realism, from the light illuminating through the shutters to the use of real candles. The costuming of the characters were visual attempts to match the personalities of the characters. Lona Hessel (Leslie Manville) the half-sister of Karsten Bernick’s wife Betty, was costumed in bright, vibrant red to emphasize her strong and outspoken personality. In contrast, to emphasize the American influence of Johan Tonneson (Joseph Millson), Betty’s brother, he was costumed in a much less formal manner, communicating the geographical gap between two cultures.

Beyond geographical boundaries and differences, the social gap was well portrayed in this production, a theme that can translate to any generation, as technology and morals constantly progress, or rather, become more progressive. The acting was strong enough to demonstrate related themes of honesty and deceit, virtue and the destruction of innocence. The performance demonstrated the ever-changing stance on what honesty entails and how a culture reacts to various moral issues. I enjoyed this performance, but found it ironic that a show set in the 1870’s, portraying realism in context and on stage would be performed in such a modern venue. However, I feel that staging this play as they did in a progressive theatre like the Lyttelton is a testament to the timelessness of Ibsen’s material and an indication that his work will be studied one hundred and twenty-five years from now.