Ibsen in Seattle

by SVERRE ARESTAD 7 Ibsen in Seattle The ground purpose for the of interest this article shown is in to Ibsen present by some Norwegian background for the interest shown in Ibsen by Norwegian Americans and others in Seattle, to record as accurately as available sources permit the statistical data on performances of his plays, to assess Ibsen's impact on theater-goers, to evaluate in general the presentation of his dramas, to discuss in detail the Seattle Repertory Playhouse production of Peer Gynt , and, finally, to give some indication of the continuing interest in Ibsen in the area. i Some statistics concerning the performances of Ibsen's plays in Seattle will be given later, but let us begin with three Peer Gynt productions during the period 1931-1965. In the 1930's, the Seattle Repertory Playhouse, under the direction of Florence Bean and Burton James, gave 92 presentations of Peer Gynt before more than 29,000 spectators. The University of Washington Showboat Theatre, under the direction of Drama Professor Donald Harrington, staged the play 33 times for audiences totaling 6,600 in the spring of 1951. In June, 1965, the late John Rustad, associate professor of humanistic-social studies at the University of Washington, assisted by Ralph Rosinbum, associate professor of music, directed and acted the leading role in a spectacular staging of the drama. Four per167 Sverre Atestad formances attracted 12,000 spectators to the outdoor Aqua Theatre. Thus in three decades there have been 129 performances of Peer Gynt before more than 48,000 people. How does one account for this popularity? Many factors contributed to the initial reception accorded Peer Gynt in Seattle. One might suggest that the deep depression of the 1930's, and the ugly unrest in many areas of the world during the same period - not least of all in Europe may well have helped to create a climate receptive to the charms of this play. These specific factors, however, would not have been operative in 1951 or in 1965, although other external circumstances, equally valid, could be advanced to account for its success in later years. No doubt the intrinsic appeal of Peer Gynt , as good theater, to widely disparate audiences and the local orientation toward Ibsen, which I shall develop below, really account for the play's overwhelmingly favorable reception. I shall concentrate, as far as theater performances are concerned , on the production by the Seattle Repertory Playhouse (hereafter referred to as the Playhouse) . I do not thereby disparage the fine presentation of Peer Gynt by the Showboat Theatre or its enthusiastic acceptance by the large Aqua Theatre audiences. Nor do I slight the numerous other successful performances of Ibsen's plays both in commercial and noncommercial Seattle theaters. A detailed consideration of other notable showings of the great playwright's works would be repetitive and beyond the scope of this article. Founded in 1929 by Florence Bean and Burton James, who had been members of the drama faculty at the University of Washington, the Playhouse contributed substantially for more than a decade to the theater and the general cultural life of the city. To my knowledge, no theater outside Norway had performed Peer Gynt as often as the Playhouse. Although a number of years have passed since this achievement, it is worthwhile to record it as an unusual contribution to the Ibsen tradition. 168 IBSEN IN SEATTLE After the thirty-ninth presentation of Peer Gynt , Mrs. Florence Bean James remarked to Washington-Posten (now Western Viking ) , Seattle Norwegian-language weekly, that the Norwegians in Seattle and on the Pacific coast had contributed substantially to the success of the play through attendance and in other ways. Her statement may well contain an element of truth - 12,000 people had attended the 39 performances - but Peer Gynt was revived by the Playhouse and shown before an additional 17,000 spectators. The total figure of 29,000 far exceeds the number of Norwegians in the area. It follows, therefore, that not only members of this ethnic group, but others as well - indeed, in larger numbers - supported the ambitious undertaking. It can be assumed that Peer Gynt was familiar to most Norwegians in the...