Presented by: Famous Last Words
Reviewed: 18 September 2026
It would be nice to think that politics and journalism have evolved since the 19th Century. How unfortunate that Henrik Ibsen’s play An Enemy of the People is still particularly relevant today, with not a lot changed. Adapted from five acts down to a single-act 80-minute snippet, Famous Last Words has brought this tale of speaking truth to power and political disruption into modern times with a cast of six, young, local performers.
Replacing the public baths for an expensive, council-built, snazzy spa complex, medical doctor Thomas Stockmann is the whistleblower with concerns about public health, facing the political leaders and journalists who would try to silence him. His sister is the fast-talking, image-conscious mayor, his friend is an ambitious journalist and his wife is caught between her right-wing brother and supporting her husband. Throw in a manipulative property developer and audiences cannot help but draw parallels to a certain parklands issue facing Adelaide right now.
Watson’s cast are all equally skilled in their performances, presenting a strong ensemble of players. James Starbuck as Thomas is suitably confident and agitated as he fights for the cause and loses everything in the process. Virginia Blackwell as Hannah, the ambitious journalist gives a strong voice to the debate, but her character is let down by truncated story points. Kate Owen is suitably smarmy as the mayor and although her character may have the odd valid point, it is the false rhetoric and placating political vox-pops of her speech that really irks, seemingly taken straight from stump speeches quoted in the Advertiser just recently. Emelia Williams as Kate, Bonet Fimeri as Alice, and Eliza Barnes as Morten provide texture to the ensemble, bringing heart, levity and nuance to the story, without pulling focus from the central debate.
The debate is the core of this piece, noted as such by the Director as an opportunity to invite the audience to participate. While the adaptation presses all the buttons from mentioning the algal bloom and COVID to vernacular like “fake news” and “alternative facts”, the actual audience participation section in a town hall debate setting fell a little flat on opening night. Whether it is essential to the storytelling is to be decided. Hopefully a more lively crowd will be keen to get involved with giving their opinions to support the cast in their improv efforts, pushing the debate along.
Technically, the lighting design by Steven Durey attempts to make use of the town-hall-like space, but generally, the focus is harsh and unflattering to the blocking and cast. The use of space is well executed in the round, including embedding of stylistic seating to allow the cast to wait in the audience when not required on stage, and adds to the audience participation aspect well.
With strong performances, and a hot-topic storyline, the writing of this adaptation left audiences wanting more with a seemingly rushed ending. Although moving (and well performed by Williams and Starbuck), it felt abrupt and did not give a sense of resolution. Perhaps this was the intention, given the nature of local politics and the machinations of David and Goliath-type battles, implying the cycle continues with no end. Enemy of the People is certainly a thought-provoking attempt at a contemporary adaptation of a classic piece, which will resonate with engaged and passionate audiences.
Reviewed by Hayley Horton
Photo credit: Mitre Khammash
Venue: Slingsby’s Hall of Possibility
Season: September 17 – 26
Duration: 80 minutes
Tickets: $27 – $33
Bookings: https://events.humanitix.com/enemy-of-the-people-flw
