Creating the dream world of Peer Gynt

Henrik Ibsen’s Peer Gynt may be a popular play, but Adrian Buckle’s upcoming production is unique. Indeed, this will mark the world premiere of a modern adaptation by acclaimed British playwright Brad Birch, who wrote it specifically for the occasion, on the condition that actor Joseph Zammit plays the title role.

The play follows the life and adventures of Peer, a peasant who is also a daydreamer and teller of tall tales. Peer meets colourful characters as he journeys through various fantastical and real-world settings, embarking on a journey of self-discovery as his story progresses. Apart from delving into the consequences of living a selfish life, Birch’s adaptation for today’s audiences explores Western exploitation, the migrant crisis, identity and redemption.

The protagonist of the play is Norwegian – as Ibsen himself was – but the play takes him to many wildly different locations, ranging from the rugged mountains of Norway to the African desert, as well as fantastical ones like the hall of the Troll King. Needless to say, condensing such sprawling landscapes into a compact stage like that at Spazju Kreattiv created unique challenges for set designer Romualdo Moretti.

“My approach towards this play is based primarily on the text of Brad Birch’s adaptation, which explores human experience and challenges,” explains Moretti. “This is also a complex play with rapidly changing scenes and comedic moments, and we faced several difficulties in its staging. Our biggest challenge was the limited space available, with the audience sitting a few centimetres away from the actors. However, after several meetings with director Chris Gatt, we came up with solutions that will also have a significant visual impact.”

Peer Gynt, Set Design 2

Moretti is quick to credit the collaborative effort of the team behind this production, highlighting the work of Brad Birch and Chris Gatt in particular as crucial to overcoming the limitations of the space. “We created a space that depicts reality, but a reality that has a dreamlike quality,” he states. “The space is then transformed into one of fantastical dreams, full of opaque images and gold elements. But I don’t want to give more away – I hope audiences can discover it with their own eyes!”

One of the key themes of Peer Gynt is the protagonist’s character arc and how his travels and adventures lead to his transformation. Reflecting this change in the scenery was a priority, adds Moretti. “I had to keep in mind Peer’s personality and his search for his own identity,” he stresses. “His journey is full of surprises and dangers. It’s a bittersweet fairy tale that encourages us to reflect on issues that are always relevant, all of which has shaped the set design.”

Although the difficulties were many, Moretti feels they helped him come up with imaginative solutions. “All the limitations we encountered challenged me to push through and not allow them to stifle my creativity,” he shares. “There was even a point, halfway, when I had to scrap my previous set design because of some technical problems. In the end, however, I reverted to the original design. The first idea is usually the best option, anyway.”

As the curtains prepare to rise on Malta’s premiere of Ibsen’s classic, it’s clear that Moretti’s set design will play a pivotal role in bringing Brad Birch’s adaptation to life. Thanks to Moretti’s creative approach, audiences are in for an unforgettable experience.

Henrik Ibsen’s Peer Gynt, an Adrian Buckle and a Malta School of Drama & Dance production, is adapted by Brad Birch and plays at Spazju Kreattiv, Valletta, on 27, 28, 29 September and 4, 5, 6 October at 8pm. This production is supported by Arts Council Malta. Tickets are available online at https://kreattivita.org/en/event/peer-gynt/.