Word: henrik
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Dates: during 1990-1999
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...function of the Loeb Mainstage itself and partly a function of A.R.T. sets which are too conceptual to bother setting the right time-of-day tone. This darkening affect is only a part of an A.R.T "feel" that touches almost every show they produce, and their most recent, Henrik Ibsen's The Master Builder, is no exception...
First conversation, July 1925: Anna (Pernilla August) tells her uncle, Pastor Jacob (Max von Sydow), of her affair with Tomas (Thomas Hanzon), a divinity student; Jacob advises her to reveal the affair to her husband Henrik (Samuel Froler), also a clergyman. Second conversation, a few weeks later: Anna tells Henrik. Third, a few months before: Anna and Tomas have their tryst. Fourth, 10 years later: Anna talks with Jacob about her marriage and the affair. Final conversation, May 1907: the 18-year-old Anna makes a confession to Jacob...
Bergman is back in the haunted house he built for himself. He sets his favorite obsessions--God and sex--at war in all these desperate creatures. The men try balancing their clerical duties with their clumsy passions. Henrik's first reaction on hearing of Anna's infidelity is to console her, as a minister would a sinner; Tomas kneels before Anna as a communicant receiving the Eucharist, or a child before its mother. Love is a sacrament of which neither man is worthy. Henrik and Tomas are really complementary halves of one weak man: the Bergman man. Henrik tastes...
Anna, whose conflicted intelligence exercises itself in passion (when that was the only outlet allowed a middle-class woman), is more than a match for her husband or her lover. Her passion is as potent as Tomas' guilt or Henrik's rage. She can plan an adulterous weekend as if it were a state dinner and tell Henrik that "the thought of your seed in my body was unbearable." She can dish out the awful truth or a blessed lie, and her men don't know the difference. Her only proper adversary is a disapproving...
...main story line opens with the Egerman family. A middle-aged lawyer, Frederik (Tim Foley '98) has taken a trophy wife, Anne (Danielle Beurteaux), who is younger than his own son Henrik (Ezra Keshet '99). The inherent problems in such a match provide much of the tension that drives the play. Frederik lacks the energy to seduce the innocent Anne, for whom the idea of marital duty is confined to being cheerful around her husband. Henrik, a young seminarian, is equally naive and is confused by the attraction he feels for Anne. The three lament their bizarre love triangle...