A contemporary adaptation of Ibsen’s classic Little Eyolf.
As we entered the room we enter more of a contemporary art installation with severed walls, mirroring the emotional separation of the characters. The setting does not create the sense of illusion as such but more that of echoes of a boy we never meet. Projected images, songs and the scene very clearly point to the country of origin, Norway.
Although the male character seems to be the most scrutinised, I mostly related to his emotional response to grief, as the female character in contrast is numb too concerned with pointing fingers.
The humour throughout is derivative of real life grieving situations. The dark humour rather than laughing not to cry, you are in limbo an emotional flux throughout the lingering , drowning in the terrible tragedy of it. What would you do when faced with the ultimate nightmare?
The father tearing up the floor boards throughout, alluding to the absence of his son, or just reflecting the degradation of it, the ephemeral quality of it? So greatly disturbed by the tragedy of the situation, surprisingly you are only slightly disturbed by the clearly uncomfortable close relationship of the brother and sister. You do however feel a strong feeling of hate towards the sister because of her continued pursuit for a relationship with her half brother. You feel like shaking her and shouting are you real? A boy has died.
One last confession of the guilt that drove the rift, a wound long past since had infected the bone too late. Little Wolf is gone . Is now the truth of the situation coming forth they had an accident because of a selfish act , nothing learnt, still selfish still too busy in their own goings on, to notice their Little wolf slip away into the water. The must fill he void, perhaps they could make the sister stay. However, all of a sudden the sister can’t get away fast enough . Good riddance, if she things the death of a child is the perfect situation to pursue her own selfish desires.
The last projection of the boy that we never meet , playing with his teddy, in a theatrical production where the central character was only an effigy, an idea. Even the presence of his toy promotes a deep seated emotional response. A good example of the life of objects and the living energy they can exert.
