ROSMERSHOLM
The implied conflicts are a sampler of Ibsen’s favorites: the individual versus society, past versus future, anarchy versus the status quo, rumor versus truth, guilt versus “a calm and happy sense of innocence,” man versus woman . . . Hold on now! How could I have overlooked heredity versus environment? To ignore Ibsen’s infantile extrapolation of Darwin is to miss out on some real belly laughs.
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The current production by Arcane Endeavors is stultified, and it’s most apparent in the acting. None of the characters shows signs of development. Michael Minter (Rosmer) is little more expressive than a ventriloquist’s dummy. His favorite of a small repertoire of expressions is a certain pulling back of the head and bulging of the eyes, indicating surprise or consternation. Linda Sterling (West) tries harder, but only comes off as a wooden Indian painted in gaudier colors. Bill McMillan makes two brief but regrettably precious appearances as Brendel, Rosmer’s drunken former tutor, which turn into lame and incoherent displays of low comedy. Best of all, in an unaware sort of way, is Denny Balish’s performance as Mrs. Helseth–she moves like one of those animatrons at Disney World. Balish may just have something of an interpretation there, although I don’t want to encourage it.
