An Enemy of the People

Belvoir again sets an Ibsen in contemporary Australia, played out in another glass box with mics. And just like Belvoir’s Wild Duck, which even flew to success in Stockholm in Ibsen’s own homeland, this Enemy of the People translates into compelling Australian political theatre.

Catastrophe threatens the economy of a town when heavy metal pollutants force the closure of new baths. 

Key supporter of the project, Dr Stockman, here made female (Kate Mulvany) recently widowed and returned to town, now insists the damning truth be told. Her immoral brother, the Mayor (Leon Ford), is soon manipulating the town’s media and leadership to shout her down. 

A town meeting berates Stockman as an enemy of the people when she lashes out at their  moral sloth and selfishness. Ibsen’s original attack on the tyranny of the “compact majority” was remarkably fierce for 1882; writer Melissa Reeves strips out Ibsen’s verbosity and effectively makes us the audience this passive majority, with Stockman haranguing us for our pathetic political disregard in 2018.  

Stockman as female just sharpens the vile vandalism which then ensures against her and her home.

Mulvaney is perfectly cast with her sharp wit and stubborn morality, backed by convincing performances from Ford, Steve Le Marquand as the local editor and Kenneth Moraleda as head of the local business association. 

But with reporter (Charles Wu), these turn-coating frauds are given by Reeves little motivation for their quick moral contortions. She is better at writing laconic Australian humour: very entertaining but throwing off balance Ibsen’s quest on moral clarity.

The invention however of Stockman’s disadvantaged cleaner who takes no one’s side (Catherine Davies) is a master stroke, with Nikita Waldron also excellent as Stockman’s spirited daughter. Peter Carroll plays her aggressive father-in-law, showing that moral rot can start at home.

Anne-Louise Sarks directs an engaging, emotive adaptation and Mel Page’s contemporary costumes and glass box set with open foreground (except for some bad side sightlines) works a treat.

Martin Portus

Photographer: Brett Boardman