Pia Zammit and Joseph Zammit in Brad Birch’s Peer Gynt. Photo: Christine Muscat Azzopardi.
More than a straight-up theatre production, Brad Birch’s Peer Gynt is an ambitious, multi-disciplinary performance combining movement, theatre and music.
This is immediately evident from the first few seconds of the production, as the action opens with a gorgeously-choreographed shipwreck scene accompanied by the sombre beating of the drums. You’d be forgiven for thinking you’d walked into a contemporary dance performance set up in the intimate and darkened Spazju Kreattiv theatre.
The actors seemingly melt into Romualdo Moretti’s set with a fluidity of movement we don’t usually witness in Maltese theatrical performances. Bravo to choreographer Chakib Zidi, and all the actors who nail these dance interludes throughout the intense two hour plus run.
The original Ibsen is famed for the accompanying score by the classical composer Grieg. Here, director Chris Gatt has opted to introduce live music by the Songaia Group, and the result is exquisite. I am eager to listen to a dedicated live performance by the four musicians who were stationed on the first floor of the theatre, and I’m sure Ana Milena Lozada’s haunting vocals stayed with the audience even after the production ended.
The dance intro places the issue of migration and people trafficking bang under the spotlight as a bunch of people die shipwrecked, poignantly holding up their passport, a talisman that fails to protect. People trafficking was also at the heart of the original Peer Gynt. Who’d have thought that the theme would sadly become more, instead of less, relateable?
Without revealing too much, the plot follows the eponymous Peer Gynt (Joseph Zammit) on his adventurous travels. He’s the ultimate procrastinator, wanting to ‘live his truth’ and to avoid the regulation married with two kids lifestyle. This, to the detriment of anyone who cares for him, whether it’s his mother (Pia Zammit) or his lovers. We follow him on a fantastical tale where he encounters trolls, corrupt business moguls, a guru and a mad doctor, embarking on adventures that are reminiscent of Odysseus’, Gulliver’s and Edward Bloom’s all combined.
Joseph Zammit in the title role is as spectacular as is to be expected. He is a consummate grifter, somehow managing to create a likeable character that the audience roots for, despite his many flaws. It is said that the mark of a great actor is that you can’t imagine anyone else in that role. I couldn’t imagine anyone but Zammit bringing this multi-faceted Peer Gynt to life.
Mikhael Basmadjian (X), Pia Zammit (Ase) and Stephen Oliver (various roles) give a worthy performance that syncs in well with Zammit’s. Gianluca Mifsud’s role as Mads is solid, and speaks of a theatre career that is progressing very well. However, the disparity between these actors and other members of the company who also had significant roles is impossible to gloss over.
The acknowledgements on the programme make reference to the Mikiel Anton Vassalli College School for Drama and Dance, which leads me to wonder whether some of the actors are, in fact, students. It’s essential to offer emerging artists the opportunity for actual stage experience, but this wasn’t the appropriate production for it. On a different note, it was good to see a diverse cast that more accurately reflects our society (not to mention the theme of migration itself).
Brad Birch’s Peer Gynt adaptation is an epic that entrances. It loses its way somewhat from the fourth act onwards, with some of the scenes dragging on needlessly. But, much like his work on Spring Awakening, the modern adaptations are clever and hit hard. Even after Peer Gynt careens towards his predictable fate, we can’t help questioning whether it was still worth it just for the privilege of “being him”.
For more theatre reviews see The Great Dictator, which was put up at the Valletta Campus Theatre earlier this year.
For details about my reviewing process read the How I Review section.