Jeremy Strong and Michael Imperioli star in Sam Gold’s Broadway production of the Henrik Ibsen classic, performed in a supremely intelligent new version by Amy Herzog.
Matt Smith heads a rousing adaptation of Ibsen for a bruised world; Danny Sapani and co lean into the storm in Yaël Farber’s liberating Lear. Plus, Hollywood power play the hard way
The *Succession* Emmy winner plays a whistleblower who pays for telling the truth in this Ibsen drama, which also stars Michael Imperioli and Victoria Pedretti.
An Enemy of the People Tickets at Duke of York's Theatre - cheap tickets and discount London theatre tickets for West End shows
This study guide and infographic for Henrik Ibsen's An Enemy of the People offer summary and analysis on themes, symbols, and other literary devices found in the text. Explore Course Hero's library of literature materials, including documents and Q&A pairs.
In a seismic return to Broadway, Jeremy Strong, famed for his role in Succession, teams up with Michael Imperioli from The Sopranos in a gripping revival of Henrik Ibsen’s timeless masterpiece, "An Enemy of the People".
By Henrik Ibsen, Schaubühne Berlin Melbourne Festival Playhouse, Arts Centre Melbourne, October 21 to 27, 2012 Reviewer: Kate Herbert Stars:***** Published in Herald Sun online Tues Oct 23, 2012 and in print on Wed Oct 24. Stefan Stern in An Enemy of the People AN INCONVENIENT TRUTH SETS OFF A SOCIAL AND POLITICAL TIME-BOMB in Ibsen’s An Enemy of the People, and Thomas Ostermeier’s production fires it directly into our contemporary world where it sits ticking ominously as we wait for it to explode. Dr. Thomas Stockmann (Stefan Stern) is a whistleblower with none of the protections of the Whistleblowers’ Act and he faces ruination when he suspects, then proves, that the water supply to his town’s new Health Spa is contaminated by upstream pollution and is making patients ill. Naively, Thomas thinks that the Town Council and his brother, Peter (Ingo Hülsmann), the Mayor, will be grateful and act immediately to repair the damage. Wrong! Reparation, Thomas is told, is prohibitively expensive and will ruin the town’s economy, so his proof is discredited or ignored, Thomas is ridiculed and abused, supporters threatened or bribed, and Peter will not tolerate his reputation being tarnished by his foolhardy, ‘irresponsible’ brother. Ostermeier argues Ibsen’s case with vigour and courage so effectively that one wants to boo and cheer – and he provides an opportunity in a participatory town meeting where audience members vehemently argue the case on microphones from the auditorium. This is an inspired interpretation of Ibsen’s explosive play with committed, credible performances from a masterly cast, acerbic and satirical humour and accessible, relevant political commentary. Tell a lie and build an entire campaign on it – that’s what Peter does. Sound familiar? But do we, and Thomas, only want transparency and maintain the high moral ground when we have no financial, vested interest? Thomas is finally confronted with an unexpected choice – and we are left wondering what he will choose. Ostermeier’s production is riveting and lucid, illuminating the issues in Ibsen’s 19th century Scandinavian play and catapulting them forward in time to address modern themes including the environmental sustainability, global financial crisis and social disintegration. Ostermeier balances comedy with drama, the personal with the political, comfortable domestic scenes with prickly arguments then risky audience participation. He incorporate delicious moments of invention as lines of dialogue and moments between characters delight and surprise us with their subtext or unexpected interpretations that resonate with our modern context. Stern is a sympathetic everyman as Thomas, playing him with naïvete and awkward charm that evolves into impotent rage as he is ostracised for attacking not simply the spa, but also social norms and power structures. As Peter, Hülsmann is cool, dapper, articulate and maddeningly manipulative, generating heat as he massages the truth into something that resembles policy. David Ruland is wonderfully beige as local bureaucrat and newspaper editor, Aslaksen, whose modus operandi is appeasement while Christoph Gawenda is the perfect journalistic opportunist looking for a story to make his career. Moritz Gottwald, who also provides music on guitar, invigorates the role of Billing, another ambitious newspaperman, playing him as a twitchy, young man looking for the next lefty issue to protest. Eva Meckbach is funky and modern as Thomas’s young wife and Ostermeier inserts some unsettling subtext about her fidelity. As her father, Morten Kiil, Thomas Bading is louche and conniving as he slopes silently around the stage with his German Shepherd in tow. Jan Pappelbaum’s design cunningly uses blackboard walls that are scribbled and sketched on to create furniture and slogans, locations, stage directions and titles for scenes. Live, modern music is skilfully integrated into the play; in the opening scenes, Thomas and friends sing and play David Bowie’s Ch-ch-changes and other pop songs. Ibsen was controversial in his time and this production delivers a volatile adaptation that will trigger heated conversation in the car on the way home – and later. By Kate Herbert Creative Team Director, Thomas Ostermeier Adaptation & Dramaturgy, Florian Borchmeyer Stage Design, Jan Pappelbaum Music, Malte Beckenbach, Daniel Freitag Lighting, Erich Schneider Costume, Nina Wetzel Paintings, Katharina Ziemke Cast Stefan Stern, Ingo Hülsmann, Eva Mendeck, Christoph Gawenda, David Rutland, Moritz Gottwald, Thomas Bading
Rock’n’roll reimagining of Ibsen’s timeless corruption drama brings the audience into direct Question Time-style dialogue with Smith’s idealist revolutionary
“8/ …dared express them. An unrelenting media campaign denouncing such Romanians as “enemies of the people” combined with a vicious police force known as the Securitate proved most effective in destroying remaining pockets of resistance. Tens of thousands of Romanians were…”
Lust is the great enemy and destroyer of love! Like many people, I struggled to overcome lust, untwist the lies...
What is behind the surge in global popularity of Henrik Ibsen’s An Enemy of the People? Benjamin Ramm finds out.
Jeremy Strong finds urgency and conversational menace in Ibsen’s 1882 drama, also with Michael Imperioli, in a new version by Amy Herzog, directed by Sam Gold.
Family Constellations History Imagine entering your early teenage years in Nazi Germany afraid to speak the truth of what you believe for fear of death. Suspected of Being an Enemy of the People by the Nazi authorities, right before being drafted and fo…
"And [Moses] called the name of the place Massah and Meribah, because of the quarreling of the people of Israel, and because they tested the Lord by saying, “Is the Lord among us or not?” Then
With The Theatre of Thomas Ostermeier, the German director presents his directorial method for the first time. The book provides a toolkit for understanding and enacting the strategies of his advanced contemporary approach to staging dramatic texts. In addition, the book also includes: Ostermeier's seminal essays, lectures and manifestos translated into English for the first time. Over 140 photos from the archive of Arno Declair, who has documented Ostermeier's work at the Schaubühne Berlin for many years, and by others. In-depth 'casebook' studies of two of his productions: Ibsen's An Enemy of the People (2012) and Shakespeare's Richard III (2015). Contributions from Ostermeier's actors and his closest collaborators to show how his principles are put into practice. An extraordinary, richly illustrated insight into Ostermeier's working methods, this volume will be of interest to practitioners and scholars of contemporary European theatre alike. -- from back cover. | Author: Thomas Ostermeier, Peter M. Boenisch | Publisher: Routledge | Publication Date: May 09, 2016 | Number of Pages: 292 pages | Language: English | Binding: Paperback | ISBN-10: 1138914479 | ISBN-13: 9781138914476
Carrying a gun is not the way to better life. So, little Hamko go to school tomorrow and learn how to read and write, even if it is in the language of your enemies. Hamko's enemies are Sadam Hussain and the Ba'atb regime. His moving memoir exposes the brutal violence against the Kurdish people in Iraq. Bullying, cruelty and fear are everywhere. Hamko preserves even as his people are forced to flee to their beloved mountains, where the refugees endure winter rains, minefields, and threats of chemical welfare. There, the survivors bury their dead and turn on each other for a piece of bread. But in the mid of the injustice arise unexpected acts of kinds, unmerited mercy and idealized love. In the mountains of Kurdistan, a courageous people sings songs of hope among ashes. | Author: Gharbi M. Mustafa | Publisher: CreateSpace Independent Publishing Platform | Publication Date: Oct 01, 2016 | Number of Pages: 132 pages | Language: English | Binding: Paperback | ISBN-10: 1539171833 | ISBN-13: 9781539171836
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There is more power in one word of God, than all the power of the enemy. So, stop talking about what the enemy is doing, and start decreeing the word of the Lord over your life.
People who have above average intelligence can often be their own worst enemy. They can twist and wriggle their way out of any situation and...
'Tall German' Canadian Cpl Bob Roberts was overseeing the surrender of dozens of enemy soldiers during the Battle of Normandy when the 7ft 6ins German loomed into his view. Cpl Roberts, who stood two...
“In the end, we will remember not the words of our enemies but the silence of our friends. – Martin Luther King Jr.
