Preparing to play Engstrand

Ghosts was my wife’s late Norwegian uncle’s favourite play – she played Regina years ago in an RSC production – so I knew the play and was excited to see the new adaptation. I believe that Amelia Bullmore has made Engstrand’s ability to manipulate people to achieve his goals very clear and believable. Anna Mackmin was keen for Ibsen’s arguments and ideas to be put across, as was his intention, in active dialogue - conversations and debates that take place between characters face to face, not as asides or as whimsical self analysis. This, I think, makes the play potent, urgent and dynamic. Anna also pointed out that, as with all successful liars, Engstrand believes his own stories and explanations implicitly and can occasionally move himself to tears!

Christmas holidays enforced a break in rehearsal. This gave me the time to finish growing Engstrand’s moustache!  In Paris I spent a day in the Musee d’Orsay which is bursting with paintings of the period during and about which Ibsen was writing. Some of these images plus my own knowledge of the Norwegian coast gave me solid mental pictures for reference. Finally, I talked briefly to a doctor and osteopath about how Engstrand’s limp might manifest itself and how best to portray it without twisting my knee!

Lez Brotherston’s masterly costume choices, layers of workmanlike and practical gear, plus grimy make-up the secrets of which were given to me years ago by a kind BBC make-up designer (cold cream and black powder mixed – there you are) put finishing touches to the old reprobate.

Paul Copley