“A searing portrait with a who’s who of resume-sparkling actors with bold direction by Chris Abraham.”

An all-star cast (a sometime cliché, but it certainly fits here) from Crow’s Theatre Toronto opens a Canadian Premiere of Henrik Ibsen’s classic ‘Rosmersholm’. A new adaptation by Duncan Macmillan, it is a searing portrait of political upheaval, crushing personal pain, and failed alliances.

Director Chris Abraham has banded together a who’s who of resume-sparkling actors. Ben Carlson (Shaw Festival and Stratford) plays the harsh governor Kroll; Beau Dixon (Stratford, Tarragon) plays Peter Mortensgaard the progressive journalist; Virgilia Griffith (Soulpepper) plays the mysterious whirlwind of change Rebecca West; Kate Hennig (Stratford and Shaw Festival) plays head housekeeper Mrs. Helseth; Diego Matamoros (Soulpepper) plays the fiery Ulrik Brendel; Jonathon Young (Soulpepper and Canadian Stage) plays the tortured lead - Pastor John Rosmer.

The strength of this production comes from the above-mentioned veteran talent, a minimalist stage and bold direction from Chris Abraham.

Rosmer is ambiguity itself – a retired pastor, he is also the heir to a family dynasty of grave conservatives memorialized by the dark, stern portraits ringing the walls of the mansion. His political views have become more progressive and are at odds with his family background as Governor Kroll passionately reminds him. Rosmer is haunted by the suicide of his wife and the emergence of the enigmatic Rebecca who was a friend of his wife.

A consequential election is the background for classic left and right mobility – a fight for equality and class struggle.

Various reports of inappropriate relationships muddy political stripes. New details of the suicide deepen Rosmer’s guilt, and, along with Rebecca, he falls into a dark void of despondency.

Carlson, as the reactionary voice of conservatism, is both angry and regal. “Politics is a bloodsport.” His volatility builds slowly to an explosive climax. Rebecca is his target and Griffith’s portrayal is slowly seething until she is emotionally crushed with wild eyes and physical paroxysms.

Young’s portrait of pain is horrifyingly tangible. In act one, he calmly dismisses his aristocracy – the mansion is “just a house.” As rancour and dread unfold in act two, Young’s descent is subtly agonizing.

Kate Hennig’s brilliant depiction of progressively nervous calm acts almost as a Greek chorus - observing with active eyes and hands wringing. Her gentle disposition belies her fear of responsibility.

Abraham manages the herculean role of wrangling the roaring emotions. The minimalist set is almost a chess board where his direction can move pieces with a variety of angles and clever blocking that evokes each scene. With a theatre in the round structure, each audience member gets their own unique view supporting the themes of varying political and emotional nuances.

Abraham also creates clever comic relief giving the play some moments of life’s rare joy.

Ming Wong establishes Ibsen-like realism with detailed 19th-century costumes. Colours and patterns are stern and severe. This details the formality of servants rushing about with coats and boots, highlighting social distinction. A chaotic outside world invades the dull house with bright red as Brendel enters besmirched with blood and paint.

Considered one of Ibsen’s finest classics, it is rarely produced. Crow’s must be applauded for taking on such a rich and complex project. Seismic political and personal change often leads to tragedy – tragedy not just violent, but also sometimes subtle. We leave with a haunting expression of life’s timid pain: “the children never cry and the adults never laugh.”

‘Rosmersholm’ by Henrik Ibsen. Adapted by Duncan Macmillan.
Performers: Ben Carlson, Beau Dixon, Virgilia Griffith, Kate Hennig, Diego Matamoros, Jonathon Young, Sturla Alvsvag, Alicia Richardson, Norman Yeung
Director: Chris Abraham
Costume design: Ming Wong
Lighting design: Kimberly Purtell
Sound design: Thomas Ryder Payne

Production runs through: October 6, 2024.
Tickets: crowstheatre.com.