The candles are lit, the curtains drawn, it’s time for a ghost story. Duncan MacMillan’s adaptation of Henrik Ibsen’s Rosmersholm is a poignant tale which feels like it’s been ripped out of today’s headlines. Full of complex ideas and even more complicated characters, Rosmersholm delves into the ambitions, heartaches, and politics of the Norse nobility. Directed by Crow’s Theatre’s artistic Director Chris Abraham, Rosmersholm is a spine-chilling opening to their season.

Rosmersholm is haunted. There are terrible tales told of the White Horse of Rosmersholm which brings death in its wake. But then there’s also the Pastor’s wife whose suicide still torments the house and its owner. The living inhabitants of Rosmersholm won’t even use the old sitting room because it was hers. Pastor John Rosmer was born into a wealthy family which has been looking after the surrounding village for centuries. Yet when we meet these characters, Rosmer seems to have lost his way, and is trying to become a more liberated, radical version of himself. This is due, in part, to his friendship with Miss Rebecca West, his wife’s companion, while also being a result of Beth’s tragic suicide. But Governor Kroll, who is Rosmer’s childhood friend and brother-in-law, seems to have a very different picture of this man in mind, and with an election looming, Kroll is trying desperately to remind his friend of who he is. Notions of morality, equality, and emancipation come to Rosmer as quickly as they seem to fade away; he is a man unmoored in an ocean of guilt and uncertainty. Relationships unravel as the puzzle surrounding Beth’s death are finally put together, resulting in an unforgettable final act.

Upon entering the Guloien Theatre, you truly enter into Rosmersholm: you stop in a foyer complete with a full umbrella stand, mirror, and chandelier before entering into the main room of the house. Portraits of Rosmers past line the walls with small oil lamps to illuminate them. The smell of the wood flooring immediately hits, adding to the antique and rich environment. Large bay windows take up one corner of the space, with mirrors strategically placed on the opposing wall to allow the audience to take in every moment of the production. Joshua Quinlan has outdone himself with this set; the attention to detail, the verisimilitude it allows for, and the overall aesthetic is beyond anticipation. Ming Wong has created exquisite costumes for these characters to live in. They carry the personalities of their wearers perfectly as well as being indicative of the time of the piece. Kimberly Purtell’s lighting design is impeccable, creating the deep shadows and bright boarders of various spaces as they needed to change, giving that foreboding ambiance its edge. The sound design of this production is imperative, and Thomas Ryder Payne expertly rises to the occasion. The final moments of the play are full of anticipation. Waiting, shoulders rising, for the moment you know you’re going to hear: the sickly crunch Rosmer’s already described. When it comes, you can’t help but wince.

Rosmersholm features passionate portrayals of Ibsen’s perplexing cast of characters. Jonathon Young plays Pastor John Rosmer. Young’s portrayal of the Pastor fluctuates between naiveté and blind determination, making his character a difficult one to get behind. Virgilia Griffith gives a career defining performance as Miss Rebecca West. With a Daenerys-esque fortitude and charm, it becomes clear how Rebecca can change the lives of those around her. Griffith shines, particularly in the second act, amongst the gloom of Rosmersholm. Ben Carlson’s Governor Kroll is an intense and focused man; he has a goal in mind and will do what he needs to to attain it. Carlson gives Kroll a ruthlessness, particularly when it comes to Beau Dixon’s character Mortensgaard, who is equally as fierce as his foil. Diego Matamoros’ Brendel bursts into the play like a whirlwind sweeping through the house. He brings much needed comic relief, and though he only appears on stage twice, he leaves a lasting impression. Kate Hennig’s Mrs. Helseth is by far the most level-headed and compassionate person in the household. Hennig has incredible stage presence which makes you hang on every word she says, and she certainly brings that to this role. Each one of these characters has a motive, a secret, or a story which makes up the enigma that is Rosmersholm.

It is troubling, in some ways, that the ideas and morals which are discussed at length in Rosmersholm continue to be discussed at length over a century later. Has it been ever thus? Have we not come further than this? But there’s hope; we’re seeing it play out in real time as we speak. Hope for a future where some of the morals and ideas expressed in Rosmersholm have a chance to exist beyond the confines of a stage. Hope is the aspect which is so clearly absent in this play, so hope for our own selves is what we must carry forward from it.

For more information and tickets, visit: https://www.crowstheatre.com/whats-on/view-all/rosmersholm

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Cover Photo: : Jonathon Young as Pastor John Rosmer, Virgilia Griffith as Miss Rebecca West. Photo by Dahlia Katz

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