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Every so often The New Theatre in Temple Bar delivers an exceptional play. Strindberg’s Creditors falls into that category: it fascinates from start to finish, and provides the audience with a unique insight into the late 19th century Scandinavian psyche.  

Set in a remote seaside hotel during a long Nordic summer, the plot revolves around a marriage between Tekla, a novelist, and Adolph, an artist. Greta is initially absent from the hotel for several days, when Adolph meets a stranger, Gustav. The latter starts to question Adolph’s attitude to his life, leading to a total reassessment of his art and his relationship with his wife. Upon his wife’s return to the hotel, the dynamics of the marriage starts to change and the mysterious stranger begins to appear in a far more malicious light.

Written in 1888, Strindberg’s play pre-empts much of the work of psychoanalysis that was beginning to emerge in Europe at the time. The characters pick apart the events of one another’s lives and relationships with a psychologist’s insight, delving into their past and inner feelings. If anything, what the play reflects is an anxiety regarding the psychologist’s capacity to control his subject and reshape his perception of reality. With an acute ear for conversation, the play is driven by Strindberg’s sharp dialogue which has all the hallmarks of a puppeteer controlling each move his characters make.

Aoife Spillane-Hinks’ production effectively makes use of Strindbeg’s characteristically realist stage, which breaks down the barriers between audience and actors. At times the audience member feels directly part of conversations happening within the simple hotel room. Thanks to the intimate setting of The New Theatre’s auditorium, the characters interact just meters away from even the very back audience members. This makes their interaction all the more charged and visceral.

The play is excellently cast, with Ronan Leahy delivering a masterful performance as the calculating villain Gustav. Kevin Olohan, a graduate from Trinity’s Inaugural crop of Lir actors is also fantastic as the younger Adolph.

After the Abbey Theatre’s major adaptation of Ibsen’s Hedda Gabler last year, it seems an appetite for dark Nordic realism is growing on Dublin’s stages. With productions like this, long may it continue!

Creditors runs at The New Theatre until 6th February. Tickets start at €12.50.