PicksInSix Gold Review: An Enemy of the People - TimeLine Theatre Company

What Is The Price Of Truth?
PicksInSix® Gold Review | Ed Tracy

Precisely timed at an inflection point for the long-term stability of the performing arts in Chicago, TimeLine Theatre Company has accomplished the nearly impossible dream of planning, funding and opening a state-of-the-art black box theater that has all the makings of providing not only a sparkling, much-needed new venue for creative artists, but also a shimmering anchor for the Uptown neighborhood. It is an unqualified, stellar, multi-faceted achievement!

The opening production—the Chicago premiere of Amy Herzog’s new version of Henrik Ibsen’s “An Enemy of the People” superbly directed by TimeLine Company Member Ron OJ Parson—teams veteran TimeLine talent with exciting new actors to present a riveting drama that feels fresh, edgy and of-the-moment. And as much as the play is the thing, the aura throughout the building at last Thursday’s opening can only be described as electric long before the lights came up on John Culbert’s impressive set design—a versatile, bi-level interior that towers over the thrust stage configuration. Indeed, the black box itself, seating 250 and rising nearly three floors, provides an unmatched view for the audience of the action transpiring only feet away.

The Ibsen classic is high moral drama, raising the stakes for a small community in the late 1800s Norway trying to survive in the face of a health crisis that threatens the lives and livelihood of everyone involved, including the present and future generations of one family at the center of the story. Will Allan plays Herzog’s Dr. Thomas Stockmann whose research has concluded that the town’s baths, the lifeline of the tourist economy, have been dangerously contaminated. When word of his findings begin to emerge within a close-knit group that includes his daughter Petra (Campbell Krausen), a family friend, Captain Horster (Charles Andrew Gardner), and those responsible for the local paper, Billing (Kenneth Hamilton), Aslaksen (Anish Jethmalani) and Hovstad (Grayson Kennedy), a wave of righteous indignation initially sets in supporting Stockmann’s plan to present his findings. But when Stockmann’s brother and town mayor Peter (Behzard Dabu) gets wind of the story and raises doubts, support quickly evaporates and the tenor shifts radically away from full disclosure to hysteria and resentment. Stockmann’s case is further complicated by his father-in-law Morten Kill (David Parkes) who tips the scales on another level altogether.

Allan’s raw, passionate and finely nuanced portrayal of Stockmann brims with confidence and turns with powerful conviction, especially in his point-blank confrontations with Peter that Dabu effortlessly unravels as Herzog’s sinister, calculating opportunist who sacrifices all decency to undermine any point of view that he does not share. That familiar toppling of opinion rapidly washes over everyone except Krausen’s endearing and captivating turn as Petra and Gardner’s poised Horster, whose stalwartly loyal support holds the key to what may come next. It is a story for our time and in Parson’s expert hands, carves a wide path of fire and fury.

The creative team delivers a visually stunning palette of the period merging Christine Pascual’s exquisite costumes, evocative lighting by Brandon Wardell, a signature sound design by André Pluess and a flurry of ingenious properties of all sorts and sizes by Nicolas Bartleson.

As TimeLine meets this moment, all that has transpired before is merely the foundation—and excitement—for what is to come. The pride in accomplishment for a permanent home is richly deserved and can be seen and felt around every corner. What lies ahead is a new era for TimeLine and their unique interpretation of works, the next chapter of a theater company that has never compromised itself, pushing forward and executing at the highest level again and again. And we will have the enduring pleasure of watching, learning and enjoying that work for years to come.

PHOTO | Brett Beiner Photography

TimeLine Theatre Company
presents
Chicago Premiere
An Enemy of the People
5035 North Broadway
EXTENDED through June 27, 2026

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PicksInSix Review: Hedda Gabler - Remy Bumppo Theatre Company

‘Hedda Gabler’: A Woman of Secrets
PicksInSix® Review | Guest Contributor | Ronald Keaton

An interesting take on the great Henrik Ibsen play “Hedda Gabler” is the latest offering from Remy Bumppo Theatre Company at the Theater Wit now through March 8. It was adapted for Roundabout Theater Company in NYC by American playwright Christopher Shinn some years back, and it (along with Remy Bumppo Artistic Director Marti Lyons) aspires to make the play fresh and even a bit modern. It all takes place in the newly purchased home of Jorgen and Hedda Tesman, a spacious and sterile drawing room from scenic designer Joe Schermoly.

The plot, in brief: Hedda and Jorgen have returned from a long honeymoon. In their new home, Hedda finds herself bored with her options and company. Upon their arrival, George realizes his academic rival Ejlert has begun working on a manuscript again. Jorgen doesn't realize that his wife and rival are former lovers. The manuscript could place Jorgen's professional path in jeopardy, while securing Ejlert's future. After a night out, Jorgen finds Ejlert's manuscript which he had lost while drinking; it doesn't help that Ejlert is an alcoholic. Hedda, rather than tell Ejlert that the manuscript has been found, convinces him to kill himself. And she burns the manuscript. After learning his suicide was not the clean death she imagined, she takes her own life.

Hedda is one of the great roles in world theatre and has been compared in some circles as a female Hamlet. Originally the play had a hugely scandalous premiere back in 1891, because it dealt with a woman trapped in a marriage she doesn't want to be in and trying to find her way out. Even the title uses her maiden name, as Mr. Ibsen stirs the creative pot of his realism. There are, of course, the inevitable bourgeois trappings along the way.  A former lover reappears. A judge uses his position liberally to get his way. Her husband is far too committed to his work. There's an aunt whose calling is to be a caretaker to those in her sphere. They all push Hedda to making desperate decisions for all kinds of reasons.

She's a woman full of secrets, owning several of her own. She knows the faux pas of several in her realm, and we don't always understand how she possesses such knowledge here and there. The interesting thing about the Shinn adaptation is that Hedda is constantly fighting for control in her life, as opposed to a traditional life of being manipulated through the elements around her. It gives her own character a more feminist regard, which is both admirable in the story and, at its original production, upsetting to many.

The cast aims gallantly toward that more contemporary retelling. As Hedda, Aurora Real de Asua is at once brittle and desperately commanding, and she wears it all on her sleeve as a unique badge of honor. Indeed, even in enviously observing about one character's suicide that it takes "a special courage" to even consider such a deed—one she purposely drives to make happen in her goal for independence—this Hedda shows us a woman who evolves to taking no prisoners. She wants what she wants, even at the cost of her own life.  And Ms. Real de Asua draws her strong line in the sand. It's difficult to pull together and fascinating in its results.

Eduardo Curley is Jorgen, properly laser-focused on his career while being the doting husband. It could be a thankless role, but Mr. Curley gives it a well-needed clarity. As Judge Brack, Greg Matthew Anderson is just as smooth and smarmy as he can be; the Judge/Hedda scenes are properly driven by his expertise. Felipe Carrasco is a fine Ejlert, the fly in the ointment for Jorgen's ambitions, even as he doesn't really mean to be. His alcoholic breakdown is subtle and highly effective. Annabel Armour once again is such an appealing actor; her tenderness and reserve as Miss Juliane, Jorgen's aunt, is both a light touch and a welcome layer of humor. Gloria Imseih Petrelli offers a strong look at Thea, Ejlert's writing partner and lover, whose own stance at being betrayed is tender and painful. Remy Bumppo stalwart Linda Gillum is a dependable Berte, the maid.

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.org.  Coming soon, his new solo play about Ben Franklin, THE FIRST EMBASSY.

PHOTO | Michael Brosilow

Remy Bumppo Theatre Company
presents
Hedda Gabler
Theater Wit
1229 W. Belmont Ave
though March 8, 2026

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For more reviews, visit: Theatre In Chicago

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PicksInSix® is a registered trademark of Roxbury Road Creative, LLC