The upcoming production of Peer Gynt is more than just a reimagining of Henrik Ibsen’s epic. Adapted by British playwright Brad Birch, directed by Chris Gatt and starring Joseph Zammit alongside an international cast and crew, Peer Gynt promises to be a unique theatrical experience that spotlights themes of identity, culture and displacement.
For Chakib Zidi, the role of movement director in such an important production is personal. A contemporary dancer, choreographer and LGBTQ+ activist, Zidi drew heavily on his Tunisian heritage to shape the world of Peer Gynt.
“Growing up in Tunisia, I was immersed in diverse cultural narratives, traditions and a rich history of storytelling through movement,” Zidi explains.
“I blend these Mediterranean and North African influences in Peer Gynt.”
Movement plays a pivotal role in expressing Peer Gynt’s exploration of identity and the migrant crisis – a topic that resonates deeply for Zidi as an artivist and human rights advocate.
Working with the international musicians Sebastian Ortiz, Ana Milena Lozada, René Junior Djamba, Juan David Carillo – who hail from Colombia and Africa and are collectively known as SonGaia – added further depth to Zidi’s choreography and became a conversation of cultures.
“SonGaia’s music perfectly complemented the dynamic nature of the choreography. Music is a powerful force in conveying emotion and narrative through movement. Together, we created a fluid, symbiotic relationship on stage, where movement and music evolved organically, enhancing the emotional impact of the production.”
SonGaia also sees their role in Peer Gynt as more than just providing a soundtrack.
Movement director Chakib Zidi“We approached the score by blending our individual musical styles – classical, jazz, electronic and world music – to reflect Peer Gynt’s journey through different worlds,” they explain.
“It was important to us that our diverse traditions complemented each other, creating a cohesive musical language and a layered score that mirrors the eclectic and adventurous nature of the story.”
With Peer’s emotional and thematic journey taking him to places both real and supernatural, setting the scene was among the most exciting challenges of the production, share the musicians.
“The narrative moves from dream-like, fantastical moments to intense, dramatic scenes, and expressing that musically required careful thought. One key scene in which the music plays a crucial role is during the ‘Hall of the Mountain King’ sequence. Here, the music builds gradually in intensity, creating a sense of impending chaos and confusion as Peer confronts his demons.”
From a movement perspective, Zidi agrees. “I approached these moments with a sense of playfulness and experimentation, to explore the emotional and social dimensions of these characters.”
For SonGaia, another challenge was balancing the folk elements of Peer Gynt’s Scandinavian origins with more modern textures. Their solution was to blend global influences into a cohesive musical language.
“We weave different traditions into the score to reflect how cultures interact, sometimes in exploitative ways,” they say.
Henrik Ibsen’s Peer Gynt, an Adrian Buckle and a Malta School of Drama & Dance production, is adapted by Brad Birch and plays at Spazju Kreattiv, Valletta, on September 27-29 and October 4-6 at 8pm. This production is supported by Arts Council Malta. Booking from kreattivita.org/en/ event/peer-gynt/.