When We Dead Awaken → Loc'ally Theatr

 For only its second production, Loc’ally Theatr has chosen to confront the weighty, introspective world of iconic playwright Henrik Ibsen in their reinterpretation of When We Dead Awaken. For those unfamiliar, Ibsen’s work is certainly challenging theatrical territory, however the cast delivered a confident and thoughtful performance of this deeply psychological work. 

When We Dead Awaken is Ibsen’s final play, a reflective and symbolic piece about artistic ambition, lost love, and the acceptance of death. The story follows sculptor Arnold Rubek, who is vacationing with his young wife Maia. Their strained marriage is disrupted by the sudden reappearance of Irena, Rubek’s former muse, whose intense presence reawakens memories and buried desires. As the two reconnect, they confront what was lost. In their search for redemption and meaning, they ascend a mountain together, in a final act that blurs the line between awakening and death. 

Despite the challenges of performing a dense, symbol-laden play from the turn of the 20th century, Loc’ally Theatr handled When We Dead Awaken with impressive clarity and sensitivity. Ibsen’s characters are ordinary, yet deeply reflective. The audience is required to tune in closely and focus on the emotional and philosophical nuances of the character’s dialogue. Scott Sharrad’s direction clearly had this at the forefront, ensuring the audience could grasp it. The staging and use of the whole theatre space kept the story progressing clearly. Additionally, the structure of the play is divided into three acts, providing a clear rhythm and progression that maintains a strong sense of engagement throughout. 

Adam Bullmore plays the highly complex character of Arnold. His presence onstage was certainly commanding, yet captured Arnold’s inner conflict with a quiet intensity. As an audience member, the character of Arndold is not easy to warm to, at times you are despising his  arrogance and then later you’re feeling moved by his vulnerability and buried regret. Bullmore captured this contrast well, allowing the audience to feel both frustration and sympathy. 

In a similar vein, is Irene, played by Carolina Kaye. Initially she is a haunting figure, stern and authoritative. Then suddenly, she releases the pain that she’d been carrying, and the audience’s perception of her shifts instantly. My understanding of her shifted from a mysterious figure to seeing her as a painfully recognisable human being. Kaye had a refined sense of subtle power and poise in her characterisation of Irene, and is definitely a character that you’ll continue to wonder about well after. 

Bringing a sweet presence to the show is Maia, performed by Veronica D’Angelo. D’Angelo gave an intricate and poised performance of Maia, whose character arc transitions through sheltered innocence to a grounded self-determined woman. The catalyst for Maia’s rebellion is her attraction towards Ulfheim, played by Scott Battersby.  Together, they form a striking contrast between Maia’s sheltered innocence and Ulfheim’s primal vitality, highlighting the emotional and existential crossroads at the heart of the play. 

I applaud Loc’ally Theatr for authentically exploring a lesser-known Ibsen play with a deliberate focus on the character's inner psyche. I encourage the theatre goers of Adelaide to challenge the comfortability of your ordinary theatre viewing, and dive into a deeply philosophical Ibsen piece that’s brought to life by an incredible cast of local talent.