January 20, 2022

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Overview: ‘Gnit’ Seeks Itself in a Mist of Magic and Mischief

Review: ‘Gnit’ Seeks Itself in a Mist of Magic and Mischief

We all know the components of the fairy story: There may be usually a youth, generally a journey and all the time a contact of the fantastical to convey an ethical or theme. Since we all know the traditional tropes from our childhood bedtime tales — don’t deviate from the trail, be cautious of witches, worry trolls — to contemporize a fairy story is to shade these narrative standbys, coloring within the context of the time, updating the tone and plot to problem our expectations.

In 1867 Henrik Ibsen did simply that, placing his personal experimental, modernist spin on the Norwegian story of Peer Gynt to create a timeless narrative of self-discovery — within the type of a five-act play in verse, no much less. In Ibsen’s “Peer Gynt,” the title character is a lazy, egocentric liar who’s a headache to his poor, sick mom. When he goes to a marriage to steal away the bride — an outdated flame — solely to fall immediately in love with one other lady on the wedding ceremony, the city turns towards him for his troublemaking. So he flees, and his meanderings lead him to odd characters and even odder conditions — encounters with magical beings, thieves and asylum sufferers.

The playwright Will Eno places his personal stamp on Ibsen’s model in “Gnit,” which opened on the Polonsky Shakespeare Middle in Brooklyn on Sunday evening. Portraying the protagonist as a listless younger man on a seek for self, Eno finally ends up with a comic story that’s myopic in scope — a self-aware and generally cloyingly precocious thought experiment in individualism and id.

In “Gnit,” which initially premiered within the Actors Theater of Louisville in 2013, Eno interprets Peer Gynt to Peter Gnit (that’s pronounced “Guh-nit”; you’re welcome) and consolidates most of the different characters so {that a} solid of six can characterize a complete city. That’s one of many tough components of Ibsen’s textual content — the lengthy listing of characters, the insistent verse, the fixed setting shifts, the frequent and abrupt dips into the absurd and surreal.

Eno’s textual content takes a route of calculated whimsy: Ibsen’s trolls are modified to actual property brokers, characters make figuring out references to the unique story and the dialogue is tuned to a cheeky deadpan. Enjoying off Eno’s heightened sense of language and pacing, Oliver Butler opts for comically stylized course on this manufacturing by the Theater for a New Viewers. The actors’ motion and intonation are stiff and curiously robotic, and the strains transfer with the speedy Ping-Pong tempo of the dialogue in an episode of “Gilmore Ladies.”

“I’m on a journey to find, to uncover, the genuine self,” Peter tells his mom.

Her stone-dry response: “Yeah? Get some milk when you’re out.” Which isn’t to say it’s not humorous — in truth, the work is genuinely hilarious, the turns are unpredictable and the performers, particularly the priceless Deborah Hedwall as Mom Gynt, Jordan Bellow as a number of completely different characters, and naturally Joe Curnutte within the lead position, appear to effortlessly hit their cues. (David Shih, who performs varied townspeople without delay, and spends many of the present in dialog with himself like a mini one-man present inside the present, struggles to convey the multitude of tones and personalities and accents, and the novelty of the joke rapidly wears off.)

However Eno’s self-consciously idiosyncratic, educational fashion finally will get outdated someplace between the nuptial kidnapping and a visit to Egypt. Offbeat, Beckett-esque ruminations and existential querying are frequent in Eno’s works — together with the poignant “Wakey, Wakey” and his well-liked Pulitzer Prize finalist, “Thom Pain (based on nothing).” So his adaptation brings out the big-picture questions Ibsen had in his unique, in regards to the methods we type, and come clean with, our “genuine self.” Eno’s slender and relentless philosophizing, nonetheless, rapidly limits the play from exploring different themes that will have in any other case proved extra fruitful.

Ibsen’s incarnation of the fairy story, for instance, additionally works as a social satire of a neighborhood set at odds with its people and that emphasizes standing over human empathy. Although the skeleton of that satire is seen in Eno’s model, “Gnit” does little to look at or increase it from Ibsen’s time to the current. Likewise, there may very well be a dissection of gender, a critique of sophistication hierarchies, a sendup of this style of storytelling itself.

There’s magic in Kimie Nishikawa’s set of verdant rolling hills with a valley within the middle, and periodically the facades of little cottages descend from the ceiling. Nishikawa’s hills, which the solid members journey amongst, by means of and round as they enter and exit scenes, draw the eyes to the pastoral scene and in addition present a way of Peter’s intensive journeying.

This isn’t Norway, although. And it doesn’t appear to be the nineteenth century both. In actual fact, every part in regards to the setting and characters is obscure, which leads us but once more to the query of what Eno is making an attempt to realize along with his adaptation?

“There’s a restrict to the magic powers of language,” Peter says as he tells a narrative to his dying mom. The lesson, that cleverness can fail when wordplay and chin-stroking ruminations distract, is one which Eno himself may have taken to coronary heart. “Gnit” is brainy and filled with rhetorical magic, however with extra dimension and larger relevance it may very well be spellbinding.

By means of Nov. 21 on the Theater for a New Viewers, Brooklyn; tfana.org. Operating time: 2 hours quarter-hour.

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