By August Strindberg
Directed by Michael Friend
Michael Friend Productions
Venue: Mill Studio, Guildford
Date: Friday 20th April 2012
I was keen to watch this Strindberg play, one we haven’t seen before. The play is set over an Easter weekend, on Good Friday, Saturday and the Easter Sunday. The family set up is quite complicated, but we learned most of the details early on, and although some of the exposition was a bit clunky, it was very necessary. Elis Heyst, a teacher, is living in a house on a small town with his mother, his fiancée Kristina, and one of his students, Benjamin, who has to live with them because his family’s money was embezzled by Elis’s father who has been jailed for fraud. Elis’s family are themselves in debt, up to their eyeballs and beyond, to Lindqvist, a man who arrived in the town years ago, penniless, and who worked his way up to a position of wealth and prominence. He apparently owns their house and contents (the exact nature of this contract wasn’t fully clear), and Elis had to suffer the double whammy of a former pupil being rewarded as a result of stealing Elis’s own work, together with the possibility of a visit from Lindqvist to throw them out of their house.
Things don’t work out quite like that, of course, and with the theme being Easter, forgiveness and reconciliation are likely to be the order of the day. There’s plenty of suffering before the conclusion, mind you, mostly on Elis’s part and mostly brought about by his own silly attitudes, and while this isn’t the most negative Strindberg I’ve seen, it certainly paints a bleak picture of life in Sweden at the time. We also meet his sister Eleanora, who turns up out of the blue after being apparently released from her asylum; she buys a flower in such a way that it seems to be have been stolen – there was no one in the shop at the time, so she just left some money which wasn’t discovered at first – and the threat of being discovered and arrested hangs over her for the second half of the play.
The set was pretty basic, as usual with Michael Friend productions, but nicely done all the same. The front door was far left, with a window at right angles beside it. There was a table to the right of that with a typewriter on it, and further to the right was a dining table with a couple of chairs. The exit to the kitchen was far right. Front and left was another table with two chairs, and there were a few other items giving a homely feel to the place.
The performances were fine. Richard Jackson as Elis had to deliver most of the exposition, so his character took longer to establish than the others, and I didn’t get so much of a feel for his emotional journey. The other characters were more rounded, and I particularly liked the detail in Liz Garland’s Kristina and also Roger Sansom’s Lindqvist – not a lot of stage time for him, but he made an impact even so. It was a good performance – this company always punches above its weight – and we enjoyed catching this less well known piece.
© 2012 Sheila Evans at ilovetheatre.me