As last Friday's opening night production of "Lady from the Sea" began, the lights dimmed and an ensemble of seven actors took to the stage or perhaps I should say, took to the sea. Swaying back and forth eerily as they crossed the stage, the ensemble appeared to be battling the force of the ocean, ultimately being carried away by the waves. The group portraying the 19th-century tourists and villagers in "Lady" also served to enhance the mystical elements of the play, going so far as to mimic the movements of the ocean while moving furniture during choreographed scene changes.
The contrast between magic and reality is an integral feature of Ibsen's play a theme that the Dartmouth theater department's production capitalized on as it successfully relayed such magical elements to the audience. The combination of the actors' raw emotion and the aesthetic surrealism of the production's technical elements skillfully communicated the disconnect between reality and fiction.
The play focuses on Ellida Wangel, a doctor's wife who is haunted by memories conjured by the sea. In her youth, Ellida fell in love with an American sailor, but they were separated when he fled her village after being accused of murder. Before he left, however, this man the "stranger" performed a marriage ceremony of sorts with Ellida, telling her, "We must both be wedded to the sea."
Years later, Ellida is still plagued by the possibility of the "frightening but fascinating" stranger's return a prospect which grew all the more haunting following the death of Ellida and Dr. Wangel's five-month-old son. Ellida is convinced that her son had the stranger's eyes, but Wangel disagrees, attributing Ellida's hysteria to her grief over the child's death. Thus, the audience must decide if Ellida's dreams and visions are grounded in reality or if they are merely a figment of her imagination.
Dartmouth's production succeeds in its presentation of this choice, blurring the distinction between Ellida's real life and her consuming obsession with the sea, especially through the effective use of set pieces, musical interludes and acting techniques that mimic the sounds and movements of the ocean.
According to director and Dartmouth theater professor Jamie Horton, the opportunity to express the omnipresence of the sea on stage contributed to his decision to mount the play.
"From a design standpoint, a very tangible presence of the sea and its power drew me to the play," he said.
In terms of its design, "Lady" impressed. The ensemble's fluid movements were right on cue, and the musical arrangement by Emmy-winner Roy Prendergast of Lyme, N.H., served as an apt backdrop for the more dramatic scenes, hitting the perfect emotional notes. Sound effects of the ocean's crashing waves also played while the ensemble moved set pieces and danced across the stage. The production, which Willa Johann '10, who plays Ellida, described as "a visually gorgeous show," made use of an appealing set to further evoke the imagery of the sea. A large sheet of sheer blue fabric hung from the rafters as the crowning set piece, its ripples and folds highly suggestive of the ocean's waves. During scene changes, the fabric shifted in shape and size, appearing to assume a life of its own a powerful visual representation of the sea's ability to manipulate and control Ellida.
During a dramatic scene in which Ellida finally reveals her past to Wangel, the folds of the ocean-like piece of fabric billowed spookily above the actors, reminding the audience of the continued presence of the sea and thus the stranger in Ellida's life.
This scene also showcased the acting prowess of Johann, who captured the fearful, tortured nature of her character with a natural physicality and a raw, vulnerable tone of voice.
Her anxiety contrasted nicely with the steadfast concern of Wangel, played by George Neptune '10. Neptune skillfully portrayed his character's kindness, as well as his lack of "determination" despite his caring nature, Wangel is also weak and unsure of how to comfort Ellida or provide for his two daughters from a previous marriage. Because the doctor fails to navigate the rift between Ellida and her stepdaughters, the Wangel household is precariously divided.
Despite these undercurrents of tension, much of the action inside the Wangel house, including the antics of visiting sculptor Lyngstrand (David Mavricos '10), was actually quite humorous. The young artist is hopelessly and obliviously pompous an unfortunate character trait humorously revealed during a scene in which the artist unsuccessfully tries to woo Wangel's daughter Bolette (Talene Monahon '13). Monahon's reactions, quite appropriately, conveyed her amusement at the comic circumstances.
Even funnier were the scenes between Lyngstrand and Wangel's younger daughter Hilde (Jennifer Lamb '13). The comic relief of the play, Lamb succeeded in portraying her character's irreverence with a delightful enthusiasm.
The show's humorous aspects counter-balanced its dramatic premise. This refreshing combination of light and serious elements coupled with the show's dynamic design elements makes for a varied, enjoyable theatrical experience. Horton accurately described the show as "very different from [last term's mainstage production of] Rocky Horror Show,' but in a wonderful way."
"Lady from the Sea" completed the first part of its performance series this past weekend. "Lady" will return to the Moore Theater Thursday, Feb. 25 and run to Sunday, Feb. 28, for four more showings.
