Review: AN ENEMY OF THE PEOPLE, Duke of York’s Theatre
Manuel Harlan
What should we expect from live theatre? When you are asked to pay up to £195 for a stalls seat what do we expect to get in return? An Enemy of the People certainly challenges our expectations with a full-on assault on our media, politicians, democracy, capitalism, and personal motivations and alliances. Its uncomfortable viewing at times, reminding us of the Trevor Griffiths 1975 play The Comedians which made the paying audience squirm in their seats, or the 2017 play Quiz which sought to alter the audiences view of events from the stage during the course of the play. In its favour is that at the heart of it is the very interesting play written by Henrik Ibsen in 1882 which over 140 years later suggests that the World has not changed much, perhaps just amplified the gulf between sections of society. It also has a very competent cast who wholeheartedly and boldly embrace the Director and adapters’, Thomas Ostermeier, and Florian Borchmeyer’s vision and thrown themselves at us. From the very off the knowing glances from the stage at the audience with lines about “always craving an audience”, the “gofundme wokey cokey lot” and “pink faced geriatrics” warns us that we are the target for some at least of the vitriol.
Matt Smith is Thomas, the learned Doctor Who discusses the polluted water in the town’s main commercial attraction, the Baths that has caused illness amongst some of people seeking the curing qualities of the waters. This brings him into conflict with his Brother Peter, The Mayor, (Paul Hilton). his journalist friend Horvstad, (Shubham Saraf) , his wealthy property-owning Father Morten Kill (Nigel Lindsay) and his fellow band mate Billing ( Zachary Hart). His wife, Katarina ( Jessica Brown Finday) is struggling with childcare, “spending all day lying to children” that if they work hard, they can succeed and freelance translating.
The updated script is full of in-your-face topicality about the Post Office software scandal , Water providers pollution, The Prime Minister personal wealth, the power of Amazon, climate change , social media influencers, press bias, and the very nature of our modern-day democracy. When Smith explodes into a raging rant in act two, energetically delivered as he prowls the stage, it is so wide ranging and apocalyptic its hard to take it all in and becomes a cross between an Extinction Rebellion Protest and Question Time on the BBC. The opening up to the floor for responses at first amuses and then quickly becomes tiresome as the audience is invited to respond to what we have heard. Even though some must surely be the understudies planted amongst us, the rambling random responses from attention seekers lack coherence and without a refined edited scripted thread just become noise which Priyanga Burford in the Fiona Brice role struggles to make sense of. We don’t pay to go to the theatre to hear the views of members of the audience during the play.
With time to reflect we might have commented that if you are trying to change the World or get the liberal majority to wake up to the need to change, you need to offer an alternative to what you seek to destroy and make the arguments effectively to engage and motivate your newfound devotees. You need incorruptible leaders to inspire and guide rather than hyperbole around a nihilistic call to action. What’s more the play appears to conclude that the natural human response as it has been since the original play was written is to opt for the status quo or perhaps find one issue to focus on where you can make a difference. If nothing else the play does at least make us reflect on our own sphere of influence.
We turned to the Little Green Book programme to seek more insight into the motives of the adapters but found a long tedious read in dense type, an extract from Post democracy after the crisis by Colin Crouch which clouded the thinking more. It reinforced the thought that the producers were so determinedly self-absorbed with being different that the missed the point of the need to emotionally engage the audience in the debate rather than beat them into submission.
Attacking those theatregoers who can afford to spend £195 for a seat in order to pay the creatives, cast and producers seems to put these theatre makers in the same category as the capitalists they attack. If they believe what they say and desire to energise a youthful majority to change, then should they not be offering more stalls seats at affordable prices? If their purpose is to mobilise change, should they not be sharing all the critical reviews of the show to widen the debate rather than just the four- and five-star reviews which support their commercial success while allowing the one- and two-star reviews get lost in the toxic swamp of social media.
It is a Theatrical event reinforced by the legions of Matt Smith fans. It has a thought-provoking message but the excesses of chalked scenes setters and props, coloured paint balls, whitewashed walls, live performances of David Bowie’s Changes, audience participation and a walk on part for an Alsatian dog detract rather than enhance the argument. It needs more focus and control for the talented cast to make a bigger impact than simply a rebellious call to arms.
Nevertheless, it is a modern piece of live theatre that has to be seen, even if it does not quite live up to its billing and should be priced to be accessible to a wider youthful audience.
*** Three Stars
Reviewed by Nick Wayne
You can purchase tickets for An Enemy of the People here