The set itself. Although the play more or less took place in its entirety around a dinner table, it did not feel constricting to the view. It might be tempting to nit-pick about how “immersive” this piece is, but at times, I felt as if I was truly privy to this family’s process. I enjoyed the brief and appropriate asides from the actors that enhanced rather than distracted from the scenes. Not enough can be said about the lighting and sound design. Almost from the start, there was no sense that we were being seated in an urban workroom. The projections and soundscapes gave an otherworldly feeling to the space and framed the actors nicely. And Joana Knezevic: nailed it, truly capturing the strength and flaws that Ibsen wrote about so beautifully.
What I didn't like
The click of the photographer was really fucking annoying. I cannot stress that enough — if there was one thing that was messing with my suspension ofdisbelief, that would be it. There was a bit of an issue with consistency in volume of speech. When some of the actors got heated, their voices amplified to a level really incongruous to the tone of the play. Very glad that these were far and few between. I felt bad for the “VIP” section as it felt like they got the worst seats in the house, actually. And it might be helpful to change out that fruity vape flavor for a more earthy, natural one – didn’t really fit in with the character.
My overall impression
A mesmerizing dive into Ibsen’s world of ethical dilemmas, which for better or worse are just as important to examine in 2018.