By Carol Davis
SOLANA BEACH, California—When Henrik Ibsen wrote Ghosts in 1881 it was labeled sensational. Not in a positive way however, but shockingly and indecently sensational according to all reports! What’s so shocking to today’s audiences, I’ll venture to say, is the way women were thought of back then way before any sign of equal rights for women was ever imagined.
What shocked and horrified theatergoers in Ibsen’s day was the fact that a woman could even think of leaving her husband (because he was a drunk and abused her). But what really shocked the sox off them was that as a result of his drunken philandering their son had inherited the sexually transmitted disease of (and we whisper this) syphilis, something that was not said out loud or even implied in polite circles. Ghosts was so controversial that it wasn’t performed until 1882 after a Danish touring company took it across the ocean and mounted it in Chicago.
What did seem natural to them however was the fact that her Pastor could convince her to go back to her home resume her life, perhaps reform her husband while sacrificing her own happiness and pretending as if nothing had happened which she did.
Only a few smug, side comments and snide chuckles from opening night patrons at The North Coast Repertory Theatre’s excellent production of Ibsen’s Ghosts that could be heard on occasion, left no doubt that today’s women would rather be of this world than the former.
Artistic director David Ellenstein who directs Ghosts with meticulous care, announced that those of us in the audience for this opening night performance would be the first to be hearing a new translation of Ghosts by dramaturge/translator Anne-Charlotte Harvey with input from several of the cast members. While not veering from the very essence of the play as Ibsen intended, it proved to be smooth sailing as the excellent cast made its way through some provocative, engrossing and highly charged scenes.
At the center of Ibsen’s 19th century morality play is San Diego’s premiere leading lady, Rosina Reynolds as Mrs. Helene Alvang the abused wife. Missing is her husband who has since died. Before we meet her though, we see the good Pastor Manders (John Herzog) thumbing through some books of hers that were left on her dining room table. In a nod of disproval, he quickly shuts and rearranges them as she enters the room. She is cool and self-assured and completely in charge.
Their conversation veers toward an event they have planned for the dedication of a hospital honoring her deceased husband. We learn that when this event is over, she will be freed of him, his memory and any monies he might have left to his estate. She doesn’t hesitate to share with the Pastor how much she loathed her husband.
With undertones of some mutual yet suppressed passions years ago, she also expresses regret to the fact that she listened to the good Pastor when he insisted she return to her rightful place with her husband. He on the other hand, in his pompous way disregards and dismisses her feelings or any implication of wrongdoing since public and private acts should be treated differently. Then he proceeds to chide her on her choice of books.
John Herzog’s Pastor Manders came off a bit shaky on opening night seemingly not too comfortable with the dialogue between himself and Helene. While proving later on in his performance to be despicable and hypocritical, his is the character that personifies male authority, the antithesis of religious responsibility while judging everyone else’s motives but his own. In the end, he allows himself to be outsmarted and duped by someone much beneath his class, Carpenter Engstrand.
For the moment though plans get under way for the dedication, and chitchat about whether or not to insure the new orphanage building from fire damage, take up most of his visit. She is inclined to insure. He, in his pretentiousness, argues that people would doubt the power of God in protecting the buildings as opposed to taking out and paying for an insurance policy. Once again, she is manipulated into agreeing with his opinions and nods in resignation. The dye has been cast however.
Her primary concern, she confesses, will now turn to her artist son Osvald (Richard Baird) who has finally come home to stay after years of living away. We learn that he has been gone at her urging so he would not be influenced by his father’s ugly behavior or his mother’s desperate, yet false attempts at normalcy according to the mores of the time.
His return both elates and depresses her. It seems Osvald has done a bit of acting out on his own in the bars of Paris and has now come home for rehabilitation, rest and recreation with his eyes turned toward their maid, Regina. Unfortunately the sins of the father are revisited on his son and the ghosts of the past are claiming both mother and son as Helene Alving is beginning to realize.
Regina Engstrand (Aimee Burdette) the Alving maid and her wastrel father Carpenter Engstrand (Jonathan McMurty) who has also been harboring a long held secret (that with a little figuring out is hardly on the scale of the Rubik’s Cube puzzle) add to the family drama, overall nail biting complexity and hypocrisy in Ibsen’s themes.
Soon all eyes turn to Baird as he makes his first entrance as the prodigal son, Osvald. Greetings and well wishes abound. Though he looks fit and trim, he struggles to put on a happy face while underneath something is literally eating him alive both physically and mentally.
A better match of contrasts couldn’t have been made in heaven than the one between Baird and Reynolds. She is stoic, self-assured, strong, attentive to almost smothering and confident in her behavior toward her son. Hers is a stellar performance in controlled anger, motherly compassion and forgiveness all of which will be tested as her son’s health degrades from robust to murmurings of help to babbling, to drooling to failure.
Baird, who is also one of San Diego’s leading, young and powerful forces to be reckoned with, comes off as smug but uncertain, gallant but searching. His downward slide to failing health due to the wickedness of his disease comes a little too fast but not without a sympathetic and heart rendering approach. When he asks his mother to give him the drugs that will end it all for him, it’s almost too much to comprehend. Both deserve kudos for their performances.
In the meantime Engstrand wants his daughter to leave the employ of the Alving’s and help him start up a sort of retreat for homeless sailors where she would be the bar maid. Her sights are set on young Osvald as are his for her. Panic sets in as the Pastor and Mr. Alving warn against any union between the two.
It seems that Regina is the illegitimate daughter of Helene’s wayward husband and their then maid, Engstrand’s wife. It was she who arranged for Engstrand to adopt the baby and bring her up as his own daughter. Unfortunately and with much chagrin, Helene Alvang notices that young Alvang has the same wandering eye and pleasures of imbibing she found in her husband, his father years ago.
Now in the employ of the very same household as her deceased mother, young Regina is the object of Osvald’s attentions. Aimee Burdette is perfectly cast as the cool and calculating Regina, who helps young Osvald along in his attraction to her as she flirts and toys with him. She is beautiful, attractive and for someone in Osvald’s state of mind, more than desirable.
Engstrand, who wants to make the most of a delicate situation when he sizes up the moment, uses bribery and coercion in explaining to the Pastor and Mrs. Alvang why he needs his daughter back with him.
Jonathan McMurtry, another of San Diego’s stalwarts plays the part of Carpenter Engstrand with all the relish his malleable facial expressions can muster. Looking almost like a clown in Jennifer Brawn Gittings patched worked laden jacket, makeshift lift on the soul of one of his shoes and fiddling with a worn out hat, McMurtry is his usual elfish self, bringing some much needed comic relief and overplaying the in your face hypocrisy of the times.
Marty Burnett’s period set, as we have all grown accustomed to expect these days, is spot on perfect with a large bay window in the rear showing the passing of time, storm showers and fire raging which are effectively lit by Matt Novotny lighting design. Chris Lussmann’s sound design rings the passing of time and Jennifer Brawn Gittings gowns for Ms. Reynolds are stunning complimenting her slim figure while emphasizing the constricting times. In stark contrast to Pastor Manders’ prim topcoat and black trousers to Osvald’s youthful brown tweeds Gittings has also captured the era perfectly.
Ibsen’s Ghosts as performed by the outstanding cast of five, under David Ellenstein’s deft direction, is one production you won’t want to miss. As classics go and this is a good one albeit is a bit dated, this new translation makes it accessible to all who are interested.
See you at the theatre.
Dates: April 10-May 2, 2010
Organization: North Coast repertory Theatre
Phone: 8589-481-1055
Production Type: Drama
Where: 987 Lomas Santa Fe Drive, Suite D, Solana Beach, Ca
Ticket Prices: $30-47.00
Web: northcoastrep.org
*
Drama critic Davis is based in San Diego.