An Enemy of the People: a 'blistering, modern-dress production'

"When did 'facts' become subjective?" roars Matt Smith, as his character, Thomas Stockmann, reaches breaking point. The line "could have been written yesterday", said Sarah Hemming in the FT. In fact, Henrik Ibsen's great political drama dates from 1882, "long before terms such as 'fake news' and 'alternative facts' became common currency".

However, in this "blistering, modern-dress production", brilliantly updated by acclaimed German director Thomas Ostermeier and featuring a "superb" central performance by the former "Doctor Who" star, the piece feels shockingly fresh. Ibsen's play tells the story of the whistleblower Dr Stockmann, who reveals that the spa waters of his town are polluted; but as the disastrous commercial implications become clear, the community unites against him.

The principal innovation of Ostermeier's adaptation is to turn the famous scene, in which Stockmann launches a sweeping attack on local politicians – including his brother, the mayor – into an open meeting, said Sarah Crompton on What's on Stage. The house lights are brought up and Smith addresses the audience directly, his "electrifying" speech making reference to such current issues as food banks and the Post Office scandal. Audience members are invited to speak and vote on Stockmann's proposals. This is "theatre as a political rallying place", with a contemporary flavour "that makes it feel urgent".

Subscribe to The Week

Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.

SUBSCRIBE & SAVE

Sign up for The Week's Free Newsletters

From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.

From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.

Sign up

Tiresome more like, said Clive Davis in The Times. I found this "sophomoric" production "so clumsy, it might almost be part of some sinister conservative plot to kill off left-wing theatre once and for all". The public debate feels like a "lukewarm edition of Question Time". The play collapses under the weight of the director's "editorialising", agreed Nick Curtis in the Evening Standard. Still, the acting is first-rate. Smith gives a "nuanced, complex portrayal of a flawed man", and the terrific ensemble includes "the great Paul Hilton" as his brother, who delivers a "study in sour disapproval and sibling resentment".