International Ibsen Season, The Barbican

Ibsen is the world’s most frequently performed playwright after Shakespeare and finding new ways of bringing these 19th Century Norwegian works to life in a modern context is no mean feat. Yet what the Barbican have done is take a risk, commissioning a programme which sees a new take on these classic plays, pulling them into the present with contemporary settings and modern politics . 
An Enemy of the People
The season opens with Schaubuhne Berlin’s adaptation of An Enemy of the People, which will be performed in German with English subtitles. As a town built on selling water to tourists faces accusations of contamination, environmental, financial and moral questions are forced into focus as the audience are invited to join the debate. 
Peer Gynt
Following An Enemy of the People in October is Peer Gynt. A production by Théâtre National de Nice, this is Ibsen’s most famous hero re-imagined as Iggy Pop (yes you have read that right) and featuring his music alongside new writing from Pulitzer Prize winner Sam Shepard. 
The Wild Duck
Last to show is The Wild Duck adapted by Simon Stone (described by the Daily Telegraph in Sydney as a 'fearless adaptor of classic plays') and Chris Ryan. Set within a glass enclosure, the play follows Hjalmar who lives contentedly with his family (and a duck) until the return of an old friend threatens his new way of life.
Contemporary Ibsen in Performance
With a panel discussion on contemporary adaptations drawing the season to a close, the Barbican promises to bring a new kind of Ibsen to London. The  discussion will be chaired by editor of the new Penguin Classics edition of Ibsen's work and Professor of Literature at Oslo University Tore Rem. Speakers include Wild Duck director Simon Stone and Professor Julie Holledge who has conducted in depth research on international Ibsen adaptations.
Rather than focus on the safe and expected (refreshingly the season steers clear of the too often seen A Doll’s House ) this trio of plays serve to highlight the universality of so many of Ibsen’s themes and the power of his works not simply as classics but as theatre that continues to be relevant.