I'm back! With a new gig from the Cape Cod Times which will help me keep this poor blog au current.
The review below was originally published in the Times.
Chris Kanaga (left) and Danielle
Dwyer. photo: Elements Theatre
Company
ORLEANS – ‘Tis the season for complicated family relationships on display, and Henrik Ibsen’s Bernick family in the “Pillars of the Community” is no different from yours or mine, except perhaps that the patriarch is a prototypical capitalist monster.
The Bernicks consist of difficult stepsisters and black
sheep brothers, cousins and ex-beaus, nosy neighbors and judgmental in-laws, all
with secrets that threaten to disrupt celebrations. Sound familiar?
In the Elements Theatre Company’s ambitious take on Ibsen’s
sweeping play, Karsten Bernick, head of house and town, faces a test of
character, providing 19th century dramatic narrative and at the same time
managing to be applicable to contemporary headlines.
“Pillars” does not have the impact of Ibsen’s later
masterpieces (the plot is too neatly tied up) but the timeless relevancy of
Ibsen’s themes – do current good works alleviate past sins, for example – make
the play worthy of dusting off and can be used as ammunition for anyone who has
a strong opinion on the Lance Armstrong situation.
Keeping the many characters in “Pillars of the Community”
straight can be a challenge to an audience member who isn’t familiar with this
rarely produced play.
Many characters serve little more than to personify the
rigid moral fiber of the Bernicks’ Norway town, but the production does a great
job of highlighting the humor in a mob mentality, and there are some standouts
in the diligent cast.
Chris Kanaga as Karsten Bernick navigates convincingly
between hubris and vulnerability: “One anxious moment, one stray word,” and he
may lose everything.
At his side, his wife Betty, played by Rachel McKendree in
a rather thankless role, is consigned to little more than reacting to blasts
from the past by the return of her brother (Peter Haig).
Also returning to “lift the veil” from a murky past is
Karsten’s past love, Lona Hessel, played by director Danielle Dwyer. Dwyer
presents Lona as one of Ibsen’s paradigmatic feminists and rightly so: She
easily handles the snappy dialogue and delivers the “fresh air” as promised,
however the character verges on the self aware and congratulatory to the extent
that she seems to have arrived not from America but from another play.
Other distinctive performances include Kate Shannon as
Marta Bernick, Karsten’s sister who somehow manages to stand on “terra firma” in
her independence from her family, and Brad Lussier who is both the repressed
schoolmaster, Mr. Rorlund, and Aune the shipyard foreman and pre-union
organizer.
Finally, another star of the show is the set. With a design
that wouldn’t be out of place on Broadway, Hans Spatzeck-Olsen, Karlene Albro
and Jennifer Lynch have created the Huset Bernick, a wonder, complete with
balcony for Karsten to look down on his family and friends both literally and
figuratively until he is forced to come back to Earth.
