I studied Thomas Vinterberg's Festen in my first year of film studies at U of T. We finished the year with the film and it proved to be the most affecting film I viewed that year. Its impact, I found, was produced from the conglomeration of a powerful narrative,fascinating character relations - produced from a stellar cast, and the films actual form (which is by far the most relevant factor).
In regards to form, Festen was a Dogme 95 film, which was a mode of filmmaking conceived by Danish filmmakers, Lars von Trier and Thomas Vinterberg. The movement was born in response to the gimmicky, overproduction of modern cinema. In their manifesto, Trier and Vinterberg have ten rules, some of which include; on location shooting with no props, the elimination of non-dietetic music and/or sound, only hand held camera usage, and no superficial action. In Festen it is the form that acts as a vessel, allowing the purity of the story and performances to be fully realized on screen.
As a result of the films background and the intricacies of the plot, I was concerned going into the Berkeley Street Theatre that a theatricalre-imagination of Festen (which in English means The Celebration), may come across overwrought and superficial. However, to my delight, my fears were diminished early on in this production as it neared perfection in many ways.
Directed by Jason Byrne, the show begins with family and friends gathering for a 60th Birthday celebration for Helge (played to absolute perfection by Eric Peterson). As the evening progresses we divulge into uncomfortable familial secrets and witness the cathartic power of truth. Peterson has been around for ages and although many may only know him from his television experience, the man has a grand theatre presence here. He is flawless at containing the emotional eruption of an evil man being dethroned. His eyes containing, yet capturing his fear and anxiety with a piercing stillness in glare.
The acting from the three surviving children of Helge, Christian (Philip Riccio), Michael (Allan Hawco) and Helene (Tara Rosling) is staggeringly good. Tara Rosling is really a stand out in the show, she's a truly captivating character actress
And watching Rosemary Dunsmore's performance (who plays Helge's wife Elsa) is like witnessing a workshop on the craft itself. She pounces around the stage truly committed to her delivery of every line and gesture, commanding absolute attention from her audience, similar to PattiLupone's magnetic force.
The most interesting aspect of the show was its use of staging. Bryne does a lovely job at using the Berkeley Street Theatre to its full potential. Actors exit and enter from almost every door in the theatre. Action and lines are delivered off stage and result in a haunting experience. Futhermore, near the beginning, Bryne has the actors participate in cross staging; where three story lines occur at one time over multiple plains of action. It is compelling and brave, and it works.
The only aspect of the show that took away from my experience was Bryne's decision to leave the house lights on for the entire show. Although only a small infraction and I do understand the intention of wanting us to feel like we are fully participating in the evening's festivities, however I found this decision to be distracting as it felt too revealing. Breaking the forth wall can work in certain circumstances, but here it comes across as intrusive.
Now to sum this review up, Festen is explosive. It bursts off the stage with gripping intensity. It is powerful and moving, exhibiting loads of qualities that we all yearn to experience while at the theatre. Go and see it!
By: JHaley
