The Broadway Theatre Review: Enemy of the People

By Ross

A hush comes over the crowd before the strumming float in, singing a sweet tune that takes us back, as the stage is slowly illuminated by warm subtle candlelight. She sits, sewing, I believe, as the receptive audience leans in with anticipation, demonstrating a total solidarity to the wise words of Henrik Ibsen (Ghosts; A Doll’s House), as adapted by Amy Herzog (Mary Jane). The spirit of morality, intolerance and the tensions that surround the brave act of whistle blowing live solid and true inside the new Broadway revival of An Enemy of the People, giving space to hidden greed and selfishness in the name of community and care. Shaped and shifting around the idea of professional responsibilities for the greater good, the play feels completely relevant as we watch this nation being pushed down a muddied path of outlandish lies that are repeatedly given megaphones for distribution. It’s a disquieting phenomenon that we see happening all around us, especially during those years when the Orange Monster held office, although he continues with his barrage to this very day. We should all be very afraid.

Just ask Dr. Fauci, former Chief Medical Advisor to the President. Health and environmental issues versus economic interests, and which voice can overcome the other, are at the heart of this conflict, layered masterfully on top of this 1882 play by the famed Norwegian playwright. As directed with intent by Sam Gold (Broadway’s King Lear; Fun Home), the energy and exacting focus find all the flavour you could hope for in the lead character’s tendency to go his own way, telling the truth, but learning the hard way that truth sometimes grow stale and platitudinous if they go against those in power. Sometimes dying on the alter of what is right and righteous. We see this a lot these sad unfortunate days, and the play illuminates the theme far stronger and greater than those simple lit candles.

“Truths are by no means the wiry Methuselahs some people think them. A normally constituted truth lives—let us say—as a rule, seventeen or eighteen years; at the outside twenty; very seldom more. And truths so patriarchal as that are always shockingly emaciated.” states Dr. Stockmann, played to beautiful perfection by Jeremy Strong (“Succession“; “Masters of Sex“) delivering the themes into very literal terms. Truth dies, we are shown, if lies and deception are given a louder voice and fit a narrative that many want to personally and selfishly believe. And with Stockmann charging forward, even when told “you won’t get what you want by embarrassing people,” Strong’s performance lives up to his name, and is dynamically matched with stupendously smart stiffness by Michael Imperioli (“The Sopranos“; “The White Lotus“) as his Mayor brother, Peter. He does not want to embrace the scientific reality presented to him by his scientifically educated brother, but instead demonizes and deforms it into an unproven theory that should be discarded. “It’s a matter of financials,” we are told, and the parallels hit hard, as its clear that the facts are being turned upside down and recalibrated into the new, more convenient truth, or as called in modern terms, ‘alternative facts.’

We hear, subtitled in a way, ‘fake news’ being shouted over Strong’s impressive Dr. Stockmann and his report, by his once supportive friends. The most heartbreaking reversal comes from the young and determined Hovstad, played solidly by Caleb Eberhardt (MTC’s Choir Boy), as the editor of the town’s newspaper, who tosses aside his vocal value system for the sake of survival. Such a sad, hard to witness turn-around and deep dive away from truth and friendship. Also jumping on board the ‘Fox News’ equivalent is the printer and spokesperson on the townsfolk, Aslaksen, sharply portrayed by Thomas Jay Ryan (MTC’s The Nap), and the sub-editor, Billing, slyly portrayed by Matthew August Jeffers (MCC’s Moscow x6), after both voiced strong support in regards to publishing the report. But Mayor Peter is by far the worst of “all the devils’ messengers” as he is leading the charge, knowing exactly what he is doing, and who will pay the price for his actions. After failing to convince Dr. Stockmann to retract the article reporting the dangerous levels of bacteria in the water at the new spa, he labels his own brother, An Enemy of the People, and one by one turns the table on his brother, urging everyone to think of the bigger economic picture and try to solve the problem in a quiet, unreported manner, regardless of how many people might get sick. “The resort is the town’s future,” he tells all, feeding into the survival instincts of everyone and anyone who might listen to his scientific brother. And the turn around is devastating.

Only Dr. Stockmann’s daughter, Petra, played wisely by Victoria Pedretti (“Origin“), and their sailor Captain Horster, well played by Alan Trong (Amazon’s “The Tomorrow War“), stand up to the turned and misguided townspeople (Bill Buell, David Mattar Merten, Max Roll), delivered forth on a smartly designed set by dots (Broadway’s Appropriate), with gentle lighting by Isabella Byrd (Broadway’s Cabaret), detailed costuming by David Zinn (Broadway’s SpongeBob…), and a clear sound design by Mikaal Sulaiman (Broadway’s Doubt). But the sharp turn made by father-in-law Morten Kiil, powerfully embodied by David Patrick Kelly (Broadway’s Into the Woods), is the final support beam that is knocked down, icing his son-in-law to the ground, and exposing the financial flavour which is at the core of this rotten apple town. It’s a moment I had forgotten about, as its been many years since I’ve seen this play, and it hit our sensibilities hard and exacting.

Fact turned into speculation, and labeled as true for the sake of a town’s financials is the framing of this majestic reforming, and we can’t help but feel the screw tightening on our already stressed out soul. Ibsen once wrote to his publisher: “I am still uncertain as to whether I should call [An Enemy of the People] a comedy or a straight drama. It may [have] many traits of comedy, but it also is based on a serious idea.” and here at the Circle in the Square Theatre on Broadway, the energy of a discovery, brought down by cowardice moderation and lies, is so well done that it is almost too smart and right on target to be all that funny.