The Big Picture

Despite being from 1883,
An Enemy of the People
remains relevant in highlighting how truth can be twisted for political gain.
Director Thomas Ostermeier’s unconventional production utilizes audience participation and a passionate monologue to engage viewers.
Matt Smith’s powerful performance as Thomas Stockmann forces the audience to confront uncomfortable truths and sparks post-theater discussions.

When you think about stories that have a relevant or timeless quality, a Norwegian play from 1883 about poisoned water is probably not the first thing that will come to mind. And yet, director Thomas Ostermeier’s West End debut An Enemy of the People is just that — timelessly relevant. Based on the 19th-century Henrik Ibsen play of the same name, the story follows how a small-town doctor deals with troubling news that threatens the town’s health and well-being as well as the economy. As the play that indirectly inspired the classic Jaws, An Enemy of the People draws you in with a standard first half before kicking the play into high gear with the second half. Unconventional and experimental, Ostermeier is not content with simply letting the audience observe but brings them into his story, inciting passionate discussion and discourse. Starring in the production are Matt Smith, Jessica Brown Findlay, Priyanga Burford, Zachary Hart, Paul Hilton, Nigel Lindsay, and Shubham Saraf.

‘An Enemy of the People’ Plays With the Truth
When local doctor Thomas Stockmann (Matt Smith) discovers that the purported healing waters of the town’s local baths are actually causing illness and threatening people’s health and well-being, his first thought is to report it to the officials. What seems like an obvious black-and-white issue quickly becomes muddled as he faces off against the mayor, who is also his brother, Peter (Paul Hilton). Peter is concerned about the public reaction to this news, how it might affect the town’s tourism revenue, and the raised taxes that will go into fixing the issue. For him, this is more than just about the safety of people, but about the town’s survival. As a doctor, Thomas’ first concern is the health of the town and the visitors who come to the baths, but this bumps up against Peter’s politicking, who twists the truth and turns Thomas’ facts into doubts.

I am always hesitant to call something prescient simply because most stories have aspects to them that are eternally relevant. But, if a doctor presenting facts about something that might endanger the public leading only to those facts getting twisted and obfuscated by the press and politicians sounds familiar to you… Well, let’s just say that there are clear parallels Ostermeier is drawing between the events of An Enemy of the People and how our own world deals with truths and consequences.

But it isn’t so easy to cast Thomas as the hero and Peter as the villain. Layered between the discussions of how to deal with the baths are the ties that bind between brothers, past grievances, clashing worldviews, and egos. Thomas is an idealist, someone who sticks staunchly to his morals and ethics even if it’s to his detriment. Raising a newborn son with his wife Katharina (Jessica Brown Findlay), the couple are still youthful in their approach to life. Far from jaded or cynical, Thomas doesn’t even consider that the local government will doubt his evidence. It is only when his brother confronts him, and he is told to deliberately hide the truth, that his worldview is altered. Throughout the play, we watch as Thomas’ fortitude deteriorates until he explodes in a full-blown rant about injustice and inequality in the world, talking far more about just the poison in the water, but the poison in society at large.

Thomas Ostermeier Utilizes the Full Capabilities of Theater

In theater circles, German director Thomas Ostermeier is known for his unconventional productions. He’s no stranger to Ibsen’s plays, especially An Enemy of the People, which saw its original production at the Schaubühne Berlin theater by Ostermeier. But his use of the theater space might be polarizing to some. Like many theater directors, Ostermeier must take a story written 100+ years ago and reconfigure it for a modern audience. It’s more than just about adjusting the plot points or the vernacular. It’s about transforming a space.

In some ways, An Enemy of the People’s set is barebones. The walls are covered with chalk drawings of windows and lines delineating three-dimensional spaces in 2-D. A kitchen or an office is merely a couple of tables, with open space for the players to perform. At the same time, it’s constantly evolving. As each scene concludes, we watch as the players reshape the set, sometimes painting over the chalk walls, sometimes drawing more detail onto them, and sometimes acting through the transition as the pieces are moved around them. Ostermeier mixes this active transformation with heavy use of pop music by David Bowie. Even the characters themselves are musicians, as we see Katharina and Thomas are part of a band with their friends Billington (Zachary Hart) and Hovstad (Shubham Saraf).

But what stands out the most is the bold use of audience participation. Although the first act still colors within the lines of a traditional play, serving mainly as exposition and set up for the audience, the second act erases the lines completely. A podium is set up and Thomas takes to it to try and speak to the audience who act as the townspeople in a town hall. The house lights are brought up and a classroom-like discussion takes place. If you’re prone to impassioned discussions about politics, ethics, and social reform, then An Enemy of the People is right up your alley. If you’re not, this will likely feel more like a nightmare scenario. But that’s the chance Ostermeier takes every night he invites a new crowd of people into the theater to become a part of his play. No two nights are the same and no discussion is the same. The direction of the discussion will, therefore, also impact how that particular audience views the story.

Matt Smith’s Passionate Monologues Hit Home
Image via Manuel Harlan

Still, despite the changes with a different audience, the message remains the same. And the message is something that Matt Smith delivers in a passionate monologue that could also be called (affectionately) a belligerent rant. Disillusioned by his world and pushed to his limit, Thomas rails on about injustice and people’s willingness to simply close themselves off from thinking on their own. He lambasts the liberal majority, pointing out its faults when it erases the nuance within people in order to control the masses. And while there is certainly aggressiveness in his performance, it’s also hard not to listen to Smith complain about the numbing presence of social media, the disappointment of politics, and the gargantuan gap between the have-a-lots and have-nones of this world and nod in agreement.

This speech might not be for everyone though. Ironically, if you’re a frequent theatergoer (aka someone who can afford to go to the theater), you probably feel a little attacked at being called part of the problem. But, Smith’s monologue will undoubtedly speak to a younger audience, especially those who have grown up not only with social media but with a keen awareness of a crumbling society. It’s a shame that the theater is such an expensive affair because what Thomas is complaining about is exactly the kind of moral conflicts young people are struggling with today. The complete loss of faith in humanity is not such an extreme point of view.

While he plays brilliantly off of Paul Hilton, Smith is undoubtedly the star of the play. He’s raw and honest, and this is why it invokes such a reaction. This monologue serves as a climax to the play, one that kicks off the audience’s participation and will ignite the blood no matter if you agree or disagree with him. As the audience, we can overlook Thomas’ flaws because we understand his motivation. He isn’t simply after glory — though he wouldn’t say no to it — but he is genuinely concerned about the situation at hand. How can so many people misinterpret hard science? Smith puts his whole being into Thomas, and his performance is designed to leave you shocked and perhaps even angry. Angry enough to raise your hand and talk back to the actors on the stage to give them a piece of your mind, which is exactly Ostermeier’s intention.

‘An Enemy of the People’ Is Meant To Shake You Awake
Image via Manuel Harlan

It’s understandable why An Enemy of the People might leave some people uncomfortable and why it has been mixed among critics. It’s naturally a play that sparks discourse. It inspires audience members to raise their hands in a room full of strangers and debate about politics and morality. One that encourages them to continue the discussions they had in the theater even after the play is over. That is what theater is about — art should provoke thought, discussion, and even argument.

For those who don’t like to confront the ugly face of the world, who might simply want to immerse themselves in a bit of escapism, An Enemy of the People forces you to sit there and reckon with the society we live in. And yes, sometimes that means the play is heavy-handed with its messaging, though I suspect that’s the point of Ostermeier’s production. He grabs you by the shoulders and shakes you, telling you to wake up and look around at the world around you before it completely burns up and turns into ash. It might be a rude awakening to some, but, at some point, we all have to face reality rather than hide from it and hope the problems will solve themselves.

An Enemy of The People REVIEWAn Enemy of The People sees Matt Smith giving a powerful performance that confronts the audience. ProsDirector Thomas Ostermeier uses the full capability of the theater by engaging with the audience.The play isn’t afraid to confront audiences with tough questions about our current society.Performances are a highlight, but the star of the show is Matt Smith. ConsFor audiences who don’t enjoy talking politics and social issues, this will be a difficult play to watch.

An Enemy of the People is now playing at The Duke of York’s Theater until April 13, 2024.

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