Norway’s most widely performed play is a demanding piece of theatre requiring a wide array of scene locations and a rugby sized team of actors. Korea’s Yohangza Theatre Company adds to the issues to be resolved in a performance by bringing the tale into the 21st century. They do a quite superb job.
Jung-Ung Yang’s Yohangza specialises in experiments with physicality, image and space and his Peer Gynt brings all the company’s skills and talents to the fore, making the Playhouse stage one large sand pit, with a clear Perspex telephone booth size cubicle sitting in its midst and the whole reflected off a giant, multi-panelled angled mirror at the rear.
From the dark recesses of the trolls’ world to the excesses of Egypt, Peer Gynt himself is played quite superbly by Haekyun Cheong in a masterful display of stamina and the full gamut of emotions – his performance alone is quite worth the price of admission.
His supporting cast and Yang’s direction keep this near-on three hour saga humming along. The aforementioned mirror often works brilliantly to not only keep horizontal play in view but as a secondary, aerial detached view of the drama playing itself out. The costumes are bright and convincing, with the trolls scene a highlight.
Of course, the sub/sur/side titles are a challenge to sustaining concentration but if that French Streetcar debacle of the Festival in March has put you off such thespian challenges, steel yourself for this is quite stunning theatre.
Sure, Yohangza’s rendition is probably not for first timers but this Peer Gynt is quite extraordinary.
Kryztoff Rating 4K
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