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| Jane White, Bill Moor. |
Ibsen’s 1886/87 drama, in which tragic
impulses blend with social and political satire, was given what Douglas Watt
termed a “musty” revival (its sixth in New York since 1904) in the Roundabout’s basement theatre, where neither
its director nor cast could do much to animate the complexly realistic/symbolic
play. The action plodded along under Raphael Kelly’s dutifully naturalistic
staging, little of its special mood being evoked in the intimate space. It
lacked “tension,” said Watt, “cohesion,” remarked Clive Barnes, and “any
directorial conception,” according to Howard Kissell.
Jane White as Rebekka, the “spiritual” wife of Pastor Rosmer (Bill Moor), gave “a strong, womanly portrayal,” wrote Barnes, but was “more heavy-handed than necessary,” added John Beaufort, and showed “ a tendency to overact,” in Kissell’s opinion. Moor’s Rosmer was bland without much interest.
Jane White was an actress of African-American descent who had a distinguished career in all entertainment media. Her casting here, in a role typically played by white actresses, was another sign of the growing tendency of progressive theatres to explore color-blind casting.
Kissell said the effect of the revival was “rather like
hollow theatrical thunderclaps,” while Watt called it “a very small tempest in
a teapot.” Others involved included Stefan Schnabel, Stephen Scott, Virginia
Payne, and Steven Gilborn.
