Rosmersholm review – ‘a timely revival that sullies politics with passion’

Rosmersholm by Ibsen, Dir. by Ian Rickson, Duke of Yorks Theatre, 2019. Credit: Johan Persson.

★★★★by Ifan Llewelyn

A restless working class is getting fed up with the ruling political elites, and following the influence of an inflammatory media outlet, they decide to rally behind a disgraced fringe agitator who’s setting out to disrupt the entire system. It’s clear to see that when playwright Duncan Macmillan happened upon this rarely-revived Henrik Ibsen play it felt like just the right time for it to breathe new life into it. The parallels to our current political climate are perfect meat for London’s haughty theatre-goers to snigger at, but thankfully Rosmersholm also serves up a serpentine, fervent love affair that you won’t find in any storybook.

The 1886 Norwegian play follows the respected household Rosmersholm in the wake of lady of the house Beata Rosmer’s suicide, the running of which has now fallen into the hands of strong-willed Rebecca West (Hayley Atwell). Former clergyman Johannes Rosmer (Tom Burke) is still reeling from the loss of his wife, loosing with her his faith and his old politics, and in their place, he carries with him an all-consuming guilt of what ultimately befell her. It isn’t until the arrival of Beata’s brother Professor Kroll (Giles Terera) that the outside world infringes on their mourning and drags Rebecca and Johannes’ new-found politics and suppressed passion into the daylight. 

Rosmersholm by Ibsen, Dir by Ian Rickson, Duke of Yorks Theatre, 2019. Credit: Johan Persson.

The slow-burning desire that simmers throughout this play is potent from the first few moments we see our lovers on stage together with a true grasp of the subtlety needed in these moments.  Atwell’s performance is strong, and she is fiercely spirited in her persuit of getting what she wants in spite of being derailed by her overwhelming feelings for Rosmer. Her political ambitions come shattering down around her as she screams “You’ve made me content.” 

Glittered throughout the piece are delightful details, most of which are cleverly weaved into Rae Smith’s set design which make delightful discoveries when your eye happen across them, like the outline on the wall of Rosmer’s office where there once hung a crucifix. The evocation and manipulation of daylight by lighting designer Neil Austin truly elevates this production bringing a heightened sense of that realism Ibsen strived for. There are some peculiar choices made when it comes to the performance, most notably in the case of housekeeper Mrs Helseth, whom despite clearly being written as superstitious, gossip-prone and gullible, does not possess any of these qualities in Lucy Brier’s performance instead becoming wishy-washy and forgettable. 

What makes this play a knock-out is its final few moments which feel like a painfully bright and cold morning where an unforgiving white sky comes pouring into the manor shedding light onto its darkest corners. When all is revealed and our players’ fate is sealed, the resounding numbness is potent as the play’s tragedy washes over you. 

Rosmersholm is running at Duke of York’s Theatre, St Martin’s Ln WC2N 4BG until the 20th of July.

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