The Corn Exchange takes on an Ingmar Bergman film in Jenny Worton’s stage adaptation of a woman’s struggle against madness.
Karin (Beth Cooke) has recently been released from a mental hospital after a breakdown. Her prognosis is grim, she can only look forward to lucid intervals during a downward spiral, but her doctor husband Martin (Peter Gaynor) has kept her in the dark. He believes there may still be hope. What she needs is rest, and a holiday with her novelist father David (Peter Gowen) and her teenage brother Minus (Colin Campbell) on their idyllic island summer home is the key to curing her psychosis. The self-involved David, however, is struggling to finish a novel, and almost instantly announces his intention to travel to Croatia to lecture on his works for a term. Meanwhile Minus is having a total hormonal meltdown: alternating between frenzied creativity, desperate masturbation, and raging about his father’s emotional distance. And then Karin discovers her prognosis…
Director Annie Ryan relies heavily on Denis Clohessy’s immersive sound design to conjure up Bergman’s deceptively attractive Swedish pastoral; a deluge in particular is emotionally as well as aurally devastating. Sarah Bacon’s set design of tables, chairs, and a bed, with screens shifting along furrows on the stage, creates the pared back world of this psychodrama. But, for all the actors moving screens and props about to create fluid scene changes, the 90 minutes without an interval of Through A Glass Darkly pass with you always keenly aware that you are watching a stage version of a film rather than a play proper. You worry about what visual metaphors might be missing which Bergman used to convey Karina’s delusions about a room of souls waiting for God, just behind the wall. You even worry if Bergman’s landscape shots were important.
Such concern with the filmic origins is because as a play there is something lacking about Bergman’s script, short scenes fail to acquire dramatic flesh. Gaynor’s hapless husband is sympathetically played as a kindly man out of his depth. Gowen follows his overbearing patriarch in By the Bog of Cats this summer with a nuanced portrayal of a father running away from all family problems; whether they be wife, daughter, or son; excusing himself by devotion to his art, even though he is horrified at finding the splinter of ice in his heart when observing his daughter’s disintegration. Newcomer Campbell acquits himself well in perhaps the most challenging role, as the petulant and easily manipulated teenager. Cooke’s accent strikes Nordic notes, accentuating Karin’s increasing distance from her family, and her initial playfulness makes her later hysteria all the more disturbing.
Through A Glass Darkly is affecting and well performed but where Corn Exchange’s Man of Valour brought computer game and comic-book fantasies to vivid theatrical life this remains in thrall to its cinematic source.
Through A Glass Darkly continues its run at the Project Arts Centre until the 5th of December.