
In 1888, before Sigmund Freud had published any of his groundbreaking works, August Strindberg in quick succession penned the searing psychological portraits of his plays, Miss Julie and Creditors. The works, which are companion pieces, both draw on Strindberg's tumultuous relationship with his wife Siri, and both consider the complex power play that exists in emotionally charged relationships. Although the plot of Creditors is somewhat contrived and harks back to the devices of the Victorian melodrama, the characters and their complicated interpersonal dynamics are timeless. Adolf is the second husband of Tekla, and he is infatuated with her even as she flirts with other men. Indeed, he may even take a certain pleasure in his supposed humiliation. However, just as he is in the thrall of her energy and erotic power, he is also susceptible to the influence of others like Gustaf who seek to inflame his sense of betrayal. The power games that the three of them play conjure up all those modern concepts of codependency and control issues which should resonate with everyone. Strindberg has created some absolutely fascinating characters, and they are brilliantly interpreted by three veterans of the theatre. Once again Charles Dance exquisitely plays a cynical manipulator; his Gustaf is a masterpiece of restraint and menace. Geraldine James also shines as the equally controlling and vivacious Tekla, while Nicholas Farrell also hits all the right notes as the gullible, bordering-on-masochistic Adolf. Director Tom Littler also succeeds where many falter. He manages to present the piece in the round without compromising sightlines or drawing unnecessary attention to them. This production of Creditors is a success on every level, serving as a splendid celebration of Sweden's premier playwright.
Rated: ★★★★★
Reviewed by J.C.
Photo by Ellie Kurtz
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