By Judd
Hollander
Every so often in the theatre there are moments when an actor
can come on stage and literally suck the air right of the room, so strong is
his performance. Such a moment occurs when John Noble is first seen in Doug
Wright's absolutely brilliant production of Posterity,
now at the Atlantic Theater Company.
A possible chance of salvation arrives when Vigeland's benefactor, Sophus Larpent (Henry Stram) offers him a commission to sculpt a bust of Henrik Ibsen (Noble), the country's most famous playwright. At first Vigeland adamantly refuses, a refusal made more definite by the fact he must first audition for the job. However when Larpent explains that by making the bust of Ibsen, it might lead to the financial backing for Vigeland's own dream project - that of creating a majestic fountain in the town's square - he finally agrees. Adding to the urgency of the situation is the fact that Ibsen has been ill and thus this will probably be the last commissioned portrait of him before his death.
This is the basic set up for the show, establishing the characters
and the situation. All of which changes the moment Nobel first appears, his
commanding presence as Ibsen dominating everything and everyone in the room.
It's quite interesting to watch the relationship between Ibsen and Vigeland as
their initial scene together progresses. Each curious about the other while
also having at least begrudging appreciation for the other's work. While Ibsen
and Vigeland do not develop a master/apprentice relationship, there is a
definite feeling of a younger generation trying to understand the older. These
moments becoming particularly clear when Vigeland is sitting on the floor with
Ibsen towering over him, the sculptor listening intently to what Ibsen has to
say. Though as their conversation continues, their relationship begins to
change to one of dueling antagonists. Vigeland tossing continuous verbal
challenges at Ibsen, the latter neatly deflecting almost all, though there are
a few that do get through. Listen for one particular moment, which also comes
back as a nice bit of irony later on where Wright takes a swipe at the
hypocrisy of people who criticize only when it's fashionable to do so, while
conveniently forgetting what they've said previously when circumstances change.
Another good bit of irony occurs when Larpent comments on how he was in the
audience when one of Ibsen's most famous works was first preformed, Ibsen remarking
how he's heard thousands of people tell him that over the years and how strange
it was that the theatre only sat a few hundred.
A running theme throughout the play is the question of a
person's legacy. Ibsen is both proud of his work and determined it is through
his plays that he will be remembered. Vigeland on the other hand is desperate
for Ibsen to allow him to do the portrait, humbling himself in ways he probably
would never do otherwise in an attempt to lay the groundwork for his own
legacy. There's also Anfinn Beck (Mickey Theis), Gustav's young apprentice, determined
to strike out on his own and win a prestigious art competition; while Greta (Dale
Soules), Larpent's housekeeper and Vigeland's latest model is more concerned of
ensuring that her husband, child and herself will always have enough food to
eat, she currently being the only breadwinner in the family. Something
certainly not as grand as the aspirations of the other people presented, but
still quite important in its own right.
Wright's script, as well as his direction, is letter perfect,
The pace of the story slowly building the tension between the two main
characters, culminating in a brilliant confrontation with both gentlemen
holding firm to their own particular beliefs and goals. At least until each man's
vulnerabilities are revealed, particularly in regards to who they've betrayed
in their lives; as they realize each is dependant on the other in regards to
how their legacy will be ensured.
Noble is excellent as Ibsen, showing him to be a powerful,
strong and imposing figure, yet someone with a carefully constructed veneer so
as not to let anyone get too close. Linklater's strong portrayal of Vigeland is
the complete opposite. Coming across as blustering and argumentative while
continually feeling the frustration at being so close to his own personal goal
while knowing he can't achieve it without help. Linklater and Noble's scenes
together among the best to grace the stage in this or any recent theatre
season. Stram is good as Larpent, part bureaucrat, part art patron and, like many
of his ilk, content to help the careers of others while not so much concerned about
his own place in history. Soules gets off some nice comic and sarcastic moments
as Greta, while also offering some plain truths on meaning of beauty. Theis is
nicely earnest as the youthful Beck.
Derek McLane's set of Vigeland's studio is very well done
and the transition technique used to switch to a drawing room in Ibsen's home
is nicely handled. Lighting by David Lander is strong, the effects helping to
add extra layers to the story, while being especially atmospheric in the aforementioned
studio.
A powerful piece about being remembered and the hurts one incurs
and inflects as they struggle to get to the top, Posterity is first rate theatre from the first spoken word to the
last.
Featuring: Mickey Theis (Anfinn Beck), Dale Soules (Greta
Bergstrom), Hamish Linklater (Gustav Vigeland), Henry Stram (Sophus Larpent),
John Noble (Henrik Ibsen).
Posterity
Posterity
written and directed by Doug Wright
Sets: Derek McLane
Costumes: Susan Hilferty
Lights: David Lander
Original Music & Sound: David Van Tieghem
Casting: Telsey + Company, William Cantler, CSA
Dialects: Deborah Hecht
Press: Boneau/Bryan-Brown
Production Stage Manager: Samantha Watson
Production Manager: Michael Wade
Assistant Stage Manager: Danny Maly
Atlantic Theater Company
Tickets: 866-811-4111 or www.Atlantictheater.org
Running time: 2 hours, 20 minutes, one intermission
Closed: Running time: 2 hours, 20 minutes, one intermission
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