This is a powerful and thought-provoking adaptation of Ibsen’s play, highlighting just how relevant this story is in 2024.
Corruption, truth, democracy are three central themes that lie right at the centre of this compelling play which makes you question the power and manipulation that governments have and how individuals are so driven by their own beliefs and truth that it can lead them into all kinds of difficulty – leaving them with a very different sense of morality than they start with.
An Enemy of the People follows the story of Dr. Stockmann who discovers that the waters in the spa in town are contaminated and will go to any lengths (including publishing articles in the local newspaper) to expose this. But he is soon faced with a number of difficult and increasingly hostile objectors to his report – including his own brother who is the mayor of the town. Politics and power soon begin to have effect and the doctor is left facing the question of how far he is willing to go for the truth and in fact is he as innocent in morals as he would have others believe.
Having first being produced by Schaubühne Berlin, Thomas Ostermeier’s production is a revelation, getting the audience thinking about their own positions on power, democracy, money and truth in effective ways. This is really highlighted in a powerful bit of audience participation set at town hall meeting which has a bit of a Question Time vibe to it. It might take a little time to get going (I’m not thoroughly convinced by the musical interludes – but I have to say the inclusion of David Bowie’s ‘Changes’ feels apt). As the story delves deep into the characters changing positions, there is a real psychological sense to everything that is unfolding in a subtle but compelling way.
Ostermeier’s and Florian Borchmeyer’s adaptation is powerful in bringing up the tension gradually and slowly exposing the characters motivations in a way that modern audiences can see parallels into the way in which power and democracy is handled in 2024 – the build up to the finale of act one is brilliantly handled, as confrontations are made and manipulation is applied – as seen through the moments in which Peter Stockmann (played with suitable politician sleaziness by Paul Hilton) heavily suggests if his brother insists on publishing his article about the baths he will bring down the town’s economy. This version also highlights the way in which the media can be easily be manipulated by those in power, bringing into question what is truth and what is fact – again something that is all too easily relatable in this era of ‘fake news’.
The whole story is staged with pinpoint preciseness that draws the audience even further into proceedings – although I do feel like Dr. Stockmann’s wife Katharina (Jessica Brown Findlay) has a lot more that she wants to say than she gets to and the tension between husband and wife feels slightly underplayed given him neglecting her in the pursuit of exposing the truth. Transitions between scenes can feel slightly stilted and drags us out of the story slightly, but for most of the production the tension is beautifully sustained. This atmosphere is heightened further by Jan Pappelbaum’s slightly bleak chalk board set design that ensue the attention is on the characters, while Urs Schonebaum’s lighting design heightens the sense of drama – particularly when the viciously town turns on Dr. Stockmann.
There is plenty to be admired about the cast as well. Matt Smith as Dr Stockmann really grows into the part, engaging great depths of passion particularly during his big second act speech that is mesmerising to listen to. But he is well matched by those around him – in particular Paul Hilton as his brother Peter, who applies the usual politician skills of evasiveness and manipulating a situation in intriguing ways – it is a subtle but powerful performance. Priyanga Burford as Aslaksen offers a wonderful balance of conflict that her character goes through – on the one hand believing in the truth and finding the courage to stand up with it, combined with not wanting to risk everything she has on one article – it is interesting to see the way her inner turmoil is played out. I did feel that Jessica Brown Findlay was underused as Katharina – hints of a passionate and strong female character could have been used much more effectively (although that is down to the play as opposed to her performance), while Zachary Hart as Billing adds a nice touch of humour to his performance to break up the tension.
Overall, this is a powerful and thought-provoking piece of theatre that showcases Ibsen’s play incredibly well and leaves you with much to mull over.
By Emma Clarendon
An Enemy of the People will play at the Duke of York’s Theatre until the 6th April. To book tickets visit London Theatre Direct or London Box Office.
Rating: ⭐⭐⭐⭐