John Gabriel Borkman review – Ibsen’s bleakly comic drama has it all
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Bankers have been the target of derision for many writers and Henrik Ibsen was no exception as his penultimate play, written in 1896, proves. As played by Simon Russell Beale, Borkman comes across as a slightly deranged Father Christmas figure. Grey-bearded and overweight, he lives with his estranged wife Gunhild (Clare Higgins) in a house owned by his sister-in-law Ella (Lia Williams) – one person whose money he didn’t misappropriate for his schemes, largely because of their early romantic history.
Now, Borkman spends his time pacing and scheming to re-enter the world of high finance. Deluded to the max, his only friend is former associate Willhelm (Michael Simkins, mournfully funny) whose literary aspirations are dismissed by Borkman.
Meanwhile, the similarly estranged sisters conduct a tug-of-war over ‘ownership’ of the Borkmans’ son Erhart (Sebastian De Souza).
On a set resembling a medieval keep designed by a modern architect, the domestic battles play out over one evening.
One of Ibsen’s experimental devices is to run the drama in real time – or close to it – as well as an emphatic use of sound that amounts to sonic Expressionism.
Borkman’s echoing footsteps, the piano played by his only other visitor, Vilhelm’s daughter Frida (Daisy Ou), and the sounds of nature are all part of the ambience.
Director Nicholas Hytner delivers Lucinda Coxon’s lean new version with aplomb. Higgins, Williams and Russell Beale are all superb and well supported by De Souza and Ony Uhiara as Erhart’s almost-too-outrageous love interest.
Monumental hubris, self-delusion and casual misogyny (“When push comes to shove, women are fundamentally interchangeable”) – Ibsen’s bleakly comic drama has ’em all. There may be snow on the ground but Baby, It’s Cold Inside, too.
- John Gabriel Borkman at Bridge Theatre until November 26 Tickets: 0333 320 0051
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