David Greig’s translation of August Strindberg’s “Creditors” takes the audience on a dark journey through the psychological twists and turns of the after effects of a love triangle. Adolf, while awaiting the return of his wife Tekla, has sought the advice of his new friend Gustav to break him out of his artistic and marital stupor. However, as Gustav delves ever deeper into Adolf’s wounds it becomes apparent that his intentions may not be in Adolf’s best interest. Despite this, Adolf follows along with Gustav’s advice in an attempt to stave off the “creditors” that are knocking at his door. Eschewing the five-act convention that was standard in his time, Strindberg instead limited this play to a one act in order for the entire scenario to be able to be played out with no interruptions.
Greig’s translations adheres to this and director David Trainer keeps the pacing brisk and the momentum ever moving forward. The script is magnificent, revealing just enough to keep interest, but holding back enough to leave questions. The manipulations that run throughout the piece are such that once they become clear, they give a sense that the characters are nothing more than marionettes whose every move is being controlled by their master. Trainer’s overall style of the production adds to this effect beautifully from the overly articulate presentation of the actors to Thomas Walsh’s impressionistic painting of the seaside as the backdrop.
Burt Grinstead delivers a heartbreaking performance as the beaten down Adolf. He is able to invoke empathy and pity, yet still have enough strength and conviction to avoid coming across as a wholly pathetic victim. Heather Anne Prete, as Tekla, starts off slow and somewhat aloof, but seems to warm into the role as the play progresses into a wonderful performance at the end. However, it is Jack Stehlin, as Gustav, who truly commands the stage with his performance. Stehlin brilliantly walks the tightrope of playing out his savage intentions, while remaining innocent and likeable enough to keep his true feelings just out of sight. Stehlin perfectly embodies a line that Adolf delivers to him early on, “I think I’m starting to hate you, but I can’t let you go.” Gustav is not a good character, but he is a bit like having an entire chocolate cake in the house; you know it’s bad for you and you shouldn’t, but you can’t help yourself and you keep going back for more. Greig’s translation is wonderfully done and Trainer’s production pays it its due credit. It’s not a happy or light story, but well worth the price of admission.
“Creditors” The Odyssey Theatre and The New American Theatre Through Dec. 15 Tickets: www.odysseytheatre. com or 310-477-2055.
Kat Michels is a two-time regional Emmy award-winning writer with an AAS in video production and a BFA in theatre.