The Story of Peer Gynt: An Evening with Kåre Conradi – The Coronet Theatre

The Story of Peer Gynt is part lecture, part show and altogether brilliant.

On a stage that is almost entirely bare, save a single chair turned away from the audience, Kåre Conradi welcomes us. He begins to tell us a bit about Ibsen, about Peer Gynt and about the Norwegian award named after him. In the space of just over an hour, he promises he will take us through the story. He does this by switching between a description of the plot in the manner of an engaged lecturer and sudden moments of dramatisation, where – with a surprising ease – he takes on the emotions, ambitions and character of Peer. Most of these moments he gives to us in English. Occasionally, he slips into the original Norwegian, though never without giving those of us who can’t speak it a clear sense of what he is saying. It is a wonderfully simple way of telling and engaging with strange and fantastical text.

The heart of the show is in Conradi’s performance. He is immensely captivating and totally comfortable switching between the different registers required of him. As lecturer, he is candid and funny, putting his audience immediately at ease, not taking himself or the story too easily. Yet simultaneously, he ensures that this casual voice does not sap the tension or drama away from the moments that he chooses to perform. Crucially, he develops clear language with us early on that means, towards the end, all these transitions become easier and faster, which means the climax of the story isn’t impeded by the show’s premise. It is an incredible feat of performance, and though it’s easy to be captured the snippets of Peer Conradi gives us, it’s actually the description that surrounds and frames them that is more impressive. I have no doubt that, as relaxed as these sections seem, Conradi is in full knowledge and total control the whole time.

This exceptional performance is supported by the adaptation, which neatly condenses the text, as well as Anders Busch’s light design, which meets the mark exactly. It is mostly restrained, simply closing down or opening up the space as the moment requires. A few stronger choices are made, such as a warm spotlight from downstage right, which casts Conradi’s shadow on the Coronet’s fading walls to create the Sahara. It’s beautiful in itself and allows Conradi to make a joke at its bolder-than-average intervention. ‘Great light Anders!’, he quips.

Indeed, this is what makes this such a successful production: it does not pretend to be more than it is, an irony given the play’s protagonist. The pieces of the play Conradi gives us retain their power because he doesn’t make too much of them. When he launches loudly into one of Peer’s speeches, he checks himself and jokes, ‘Too much theatre!’ Equally, though the production is willing to create strong images on stage and play in the space, it is just as happy to call attention to the artifice and drop the creation at a moment’s notice. In this manner, the production never over extends itself and delivers exactly what it intends to: the story of Peer Gynt and an evening with Kåre Conradi.

Reviewer: Ralph Jeffreys

Reviewed: 19th February 2026

North West End UK Rating: