Once again, a classic film gets transferred to the stage. Accordingly, everything on it, in it is black and white. Yet the aura of a posh resort, where a 60th birthday party will be held for Helga, is colored by mystery. Why wasn't son Michael invited? Could it be because of his tough mouth, his violent yet sexy relationship with wife Meta, his egotistic bullying? Doesn't sister Helene appear to be still spooked by the death of their other sister? Don't the others hear a child singing, crying? Mostly, why should successful (and invited) son Christian act so remote? (His toast at the festen blackens the festivities with the revelation of incest.)
I suppose it's the distastefulness of the crime that has made the play so hard-hitting to audiences and critics. Or maybe the juxtaposition of the singing, drinking, dining celebrants with the horrors felt and exposed by Christian. The maintaining of surface by the mother, whom Jane Asher (in scarlet) plays icily, has been considered brilliant. To me, however, none of the characters compel much interest. The family members who are realistic human beings, like Michael and Helene, seem to act without motivation. Only the eccentrics - such as Kim the cook or the grandfather (who's mainly "out of it") or guest Poul (who's never quite sure if he wants to stay or leave (or why) relieve the dreariness.
Despite the clarity of direction and clever minimalism of design, this production is more arty than artful.
