Review: Henrik Ibsen’s Public Enemy at the Young Vic

Niall Ashdown and Darrell D'Silva. Photo Keith Pattison

Niall Ashdown as Aslaksen and Darrell D’Silva as the Mayor. Photo Keith Pattison

More than a century after its first performance, Henrik Ibsen’s Public Enemy (or An Enemy of the People as it’s better known) remains a play so relevant it’s tempting to think it has been updated for 21st century sensibilities: a scientist discovers that the town spa – the lifeline of the local economy – is polluted. Financial interests, corruption, betrayal and hypocrisy combine for an explosive mix of public and private tragedy. The human nature at its more complex, the attraction of the play is obvious.

For the longest time into the Young Vic production of Ibsen’s play (directed by Richard Jones in a new version by David Harrower), I was unconvinced by its approach. Continue reading

The day Simon Russell Beale broke his finger on stage (and other stories)

Simon Russell Beale as Timon. Photo Johan Persson

Last night, thirty minutes from the end of Timon of Athens at the National Theatre, Simon Russell Beale slipped and broke his finger. The performance was interrupted – “I’m sorry ladies and gentleman, I seem to have broken my finger” – an announcement was made by the stage manager, and ten minutes later Paul Dodds, Simon Russell Beale’s understudy, took over and finished the performance. Thankfully, the injury was a minor fracture and Simon Russell Beale is back performing tonight. This is very good news, first and foremost, for Mr Beale (see what I did there, I am turning into the New York Times), the audience (I am sure Mr Dobbs was fantastic, but nobody wants the big star to go off sick for long) and me. Because I can now discuss, guilt free, my not entirely healthy fascination with injuries on stage.

I am not attracted by the pain and misfortune. But in a live performance, it’s the thrill of the unexpected. When an actor falls, even a practiced fall, you know it is real, it must hurt a little. And if something goes wrong, everyone, actors and audience, enter a place when noone knows what will happen. It’s always interesting to see the audience’s reaction to the understudy who takes over: in theory, this should be a disappointing development, but the audience wants to experience the adrenaline, fear and excitement of someone who goes on stage at a moment’s notice. The best performance in the world can’t quite beat that. Continue reading