A Pocket Guide to Ibsen, Chekhov and Strindberg
(Written in collaboration with Stephen
Unwin)
2004, Faber and Faber
The British Theatre
Guide, 4th April 2005, Peter Latham
This review has to start with a brief apology to Fabers.
I have been regularly dipping into this book as plays by the trio appear and
never quite got round to writing the review.
The formula is now familiar as English Touring
Theatre artistic director Stephen Unwin has developed quite a nice sideline in
Pocket Guides. His collaborator this time around is the very distinguished
actor Michael Pennington, who has previously written about his experiences
playing Chekhov.
This triple book is presumably justified on the
basis that it might be difficult to fill a saleable work about any one of the
individuals. However, while it covers thirteen Ibsen’s and most of the less
prolific Chekhov, there are a mere five plays by Strindberg.
The omissions can be frustrating when one is trying
to find out about or relive a theatrical experience. Ibsen’s ‘Brand’, so
memorably brought to the stage by Ralph Fiennes is missing, as, rather more
justifiably is ‘Easter’, a rather obscure Strindberg just resuscitated by
Dominic Dromgoole for the Oxford Stage Company.
It almost goes without saying that what is included
is excellent. Following an introduction, each of the writers gets a brief
biography. The general writing also includes a chapter entitled ‘The Legacy’
that sets the trip in context, demonstrating that, in particular, Bernard Shaw
was heavily influenced by Ibsen and Chekhov and that Strindberg has had a
significant impact on, amongst others, the surprising combination of Eugene
O’Neill, John Osborne, Samuel Beckett and Patrick Marber. This is complemented
by a chronicle of plays written in the period 1865-1914 that makes fascinating
and enlightening reading.
The core of the book, though, is a summary and
analysis of the plays. This covers characters, the story, a section ‘About the
Play’ providing critical analysis and context, and a section on the play ‘In
Performance’.
These books are all well-written and serve their
purpose perfectly. This one will prove immensely useful to students, actors and
directors, theatre-goers and dare one suggest it, critics.