“A ‘poor wayfaring stranger’ takes us on a journey through the dark heart of post-Civil War Appalachia.“
Henrik Ibsen’s 1865 tragedy Brand tells the story of a zealous preacher at odds with a society he deems cold, corrupt, and materialistic. It has enjoyed many incarnations, but Robert Bailey’s decision to relocate the story to post-Civil War Appalachia in his one-man show In Some Dark Valley is particularly inspired. The region’s wild mountainous landscape, fire-and-brimstone religiosity, and stark social inequality mirror Ibsen’s Scandinavia with striking effect. Punctuated by snatches of traditional folk song, the production becomes an atmospheric and often uncanny reimagining of an age-old tale of man’s fraught relationship with God.
Reverend Brand – an intense, brooding preacher dressed all in black – cuts a mysterious figure on a bare stage. “I don’t know where I am,” he admits, yet he is compelled to offer “testimony” of the journey that has led him here. He guides us through the ‘infernal darkness’ of his poverty-stricken childhood to his spiritual awakening in a shadowy forest. He recounts his rise as a charismatic circuit preacher and his love for the devout Agnes. It is this unwavering mission, however, that leads to his ultimate downfall.
When a devastating sickness strikes the town – seen by many as divine retribution for the Civil War – Brand’s rigid beliefs are tested. Setting the story in the war’s aftermath proves particularly effective, revealing a society shaken not only by a staggering death toll but by profound social change. Brand’s ideal of a church open to all races is radical and idealistic, and is unsurprisingly met with hostility.
The script is the production’s greatest strength. Rich in imagery, it vividly evokes misty churchyards, shadowy forests, and remote hillside hollers, blending religious symbolism with folk mysticism. In one striking moment, the voice of God “floated out on the morning breeze like a ribbon come loose from a gal’s hair.” Crucially, the writing resists sentimentalising Brand; the cost of his moral absolutism on his family is clear and often disturbing.
Billy Siegenfeld’s direction is deft and assured, moving us through multiple locations across a sparse, austere set. Yet the production lacks a necessary spark. The storytelling is deliberate and measured, which suits the descriptive passages but slows the overall pace. Greater variation in rhythm and sharper emotional shifts are needed to fully ignite the drama.
Bailey delivers a committed and thoughtful performance, finding moments of tenderness and wry humour. However, his preacher never fully convinces; the sermons lack the fiery conviction one expects. Only in a surreal dream sequence – where visions of hell are recounted – does the physical and vocal performance reach the chilling intensity demanded by the language. I attended the opening performance, and there is every chance the piece will settle and develop over its run.
Some of the most affecting moments come through Bailey’s renditions of Appalachian folk songs. Their themes of rural isolation, unshakable faith, and romantic longing form the emotional backbone of the piece, resonating deeply. His plaintive voice and total commitment cut through the stillness, creating moments that send genuine chills through the audience.
In Some Dark Valley is a thoughtful and atmospheric work which, with a few small adjustments, could become a barnstorming festival favourite worthy of a rousing amen.In Some Dark Valley is on at the White Bear Theatre until 4th April. Tickets here.