Problematic Enemy of the People

The Enemy of the People

by Henrik Ibsen

directed by Billy Hulkower

at the Agassiz Theatre

through November 14

The Enemy of the People is obviously an amateur production. But although the performance lacks professional flair or polished finesse, the natural, unapologetic enthusiasm of the cast makes the play utterly engaging.

Ibsen's play presents a small Scandinavian town thrown into a furious controversy over the purity of the water at the local public baths. Enemy of the People's is dominated by Doctor Stockmann, who uses his discoveries about the water supply to put forward his elitist ideas. The cynical actions and reactions of all those in positions of authority question the responsibility of individuals to society.

The show is held together by Alexandre Schnieders' portrayal of Doctor Stockmann. His acting, although often simplistic, is so ebullient and frenetic that the audience is held rapt. The Doctor, who can appear a distant and unsympathetic character on reading Ibsen's text, becomes more appealing through Schneider's warm performance.

Gender confusion cripples the portrayal of the Doctor's brother and rival, Pytir (Marcy De Nezza). While there is no difficulty in casting a woman in the part Ibsen wrote for a man, the director hasn't established a consistent pronoun policy for Pytir; this confusion gives rise to lines such as "The doctor's brother, she...". This difficulty is compounded by De Nezza's absurd top hat, which perches precariously on top of her head like the bunny ears on a Vegas show girl. The audience has trouble concentrating on her (good) acting while they decide where she stands, genderwise.

David Marmor, as the stellar editor of the Liberal Press, and Ishir Bahn, as his trusty sidekick, the chair of the homeowners' council, have sophisticated acting styles, but crude parts. They shout and wave their arms a lot in an effective rendition of two almost slapstick characters. Amory Downes as Mrs. Stockmann and Michelle Sullivan as her daughter perform competently.

The only disasters in the cast are Michael L. Johnson as Eilif Stockmann, who tries to enlarge his tiny piece by hamming it, and the townspeople, who lose all discipline in their rush to make the most of their five minutes in the limelight.

The play addresses an idea, not a slice of everyday life. Ibsen has unrealistically attempted to cram the Doctor's psychological transformation from peaceful burgher to megalomaniac into two stage hours. Director Billy Hulkower would ideally make this metamorphosis more believable by hinting at it early in the production. As it is, this sudden transformation jars. The music, becoming audible at random moments throughout the production, also adds to the sense of unreality.

Yet there are wonderful moments, too: the Doctor, clearing the sofa in one glorious leap, or running stones through his hand like shekels; his wife and daughter, peeping round the doors curiously as he speaks to visitors. But the chief strength of this production lies in its huge enthusiasm. The vigor of the cast and crew turns what might have been a turgid morality play into engaging entertainment.