Coleton Schmitto and Johnny Moreno Photo by Dave Lepori

While these lines feel as if they could be from a play hot off the press last week, their roots lie about 143 years ago when Henrik Ibsen penned his starkly pointed exploration of exposing fact-based truth as it meets political, media, community, and even family backlash. Since its 1882 premiere, Ibsen's An Enemy of the People has been adapted and performed time and again globally as its nineteenth-century messages continue to find ever-increasing relevance–messages about environmental pollution, hiding truth by rewriting facts, and the power of the majority in the name of democracy to demonize and reject the voice of reason.

San Jose Stage Company is presenting Thomas Ostermeier and Florian Borchmeyer's adaptation of An Enemy of the People (English version by Duncan Macmillan), which in every respect looks, feels, and sounds like it is taking place right here, right now. Under the hard-hitting, often-surprising, and inspired direction of Kenneth Kelleher and with a stellar cast of six veteran actors well-known by Bay Area audiences, The Stage's An Enemy of the People is a stunning, must-see two hours of live theatre.

Thomas Stockmann is the medical doctor for a spa located in a town whose healing waters have a wide reputation dating back to Roman times. As part of his duties after a number of spa visitors complained a few weeks prior of diarrhea, skin rashes, and dizziness, Thomas had the water tested but decided to tell no one of his investigation so not to raise undue alarm. The results have just arrived and prove beyond any shadow of doubt that the waters often described as "the throbbing heart of our town" are in fact "a gleaming cess pit" of E. Coli, Legionella, microplastics and lead, as a result of the toxic sludge from a nearby industrial park.

Upon reading the results, Thomas is totally exuberant that he will be able to save the town from this poison in their water pipes, and his fellow rock-bandmates Havstad and Billing totally agree with him. Those two also see a perfect opportunity for their struggling local newspaper to help expose this horrific situation as they assure Thomas that among the grateful townspeople, "You're going to be disgustingly famous."

Their publisher, Nina Aslaksen, who is also chair of the local Landowners Association, assures Thomas that she can mobilize trade unions and business owners: "You can count our support ... The majority is behind you." Thomas' father-in-law, Morten Kiil, is also excited to help (even though he owns the supposed guilty source of the pollution), seeing it as an opportunity to stick it to "the swamp of our [local] politics."

The "swamp" that Kiil has a biting grudge against is in the form of the mayor of the town, Peter Stockmann, who also happens to be the older brother of Thomas. The two are about as different as night and day, and their sibling rivalry and differences often lead to shouting matches, shoving, and even blows.

That is especially true when Peter's reaction to a draft article about Thomas' discovery is not the praise that Thomas had expected but is Peter's indictment that "the language you use is extreme," that "it seems you're exaggerating" all these "rumors." After all, with a required $100 million dollar fix and at least two years of the spa being inoperable, Peter concludes–reminding his brother of the impact on local restaurants and hotels–that it is not about so-called facts, "It simply comes down to economics." When Thomas counters, "How can you argue facts and truths," Peter replies, "This is a democracy."

As it becomes more broadly known that the $100 million will not come from the initial investors represented by the Bath Committee (which Peter of course chairs) but from the local taxpayers themselves, we as audience get to sit back and watch what we too often see happen all across our country as facts and truth begin step by step to matter less and less when dollar signs are attached. As that happens (as in real life), the voices of politics, business, and media begin to rise in solid opposition.

Coleton Schmitto is outstanding in his portrayal of the young, never-sit-still, idealistic doctor in ponytail, jeans and hightops, who sincerely believes that facts based on science will not be ignored when it comes to people's health, no matter the cost. Thomas often moves through a room as if no one is there, so caught up he is in his own determination and course of action. It is easy to see that there is some truth in his brother's description that "Thomas is a lone wolf; he blunders ahead without consultation."

Just ask his wife Katharina (impressively portrayed by Christine Capsuto-Shulman), who is trying to be supportive as she nurses their newborn son and holds down a part-time teaching job. However, with a tough-skinned disposition and glaring eyes that speak volumes, Katarina is clearly more than a little irritated that Thomas has never said anything to her about his investigation and that he often seems to only have time and enthusiasm for his own projects or for the rock band that practices at their house, with little of either left for her.

Even though Thomas is a doctor and a new father, he has a temper that can quickly rise into fisticuff heights, especially when his smooth-talking, judgmental, self-righteous brother is in the room. As Peter, Johnny Moreno speaks with a voice oozing with quickly manufactured sincerity, a voice always grounded in a sense of "I know more than you." He smiles broadly even when he is on the attack, making him all the more a target for Thomas' middle finger or a sudden mad chase around the house.

Brandon Leland and Nick Mandracchia are totally believable as the firebrand, beer-swiveling, rock-playing editors of the local newspaper, Hovstad and Billing, respectively. That they want to use Thomas' findings to solidify their fledgling newspaper's future in the community is clear; but they are also individual, enthusiastic believers in getting Thomas' findings to the community's attention. As Hovstad reassures Thomas, "My mum deserves to know if the water is poisoned and she needs to know who poisoned it so that she can vote them out ... If I stay silent on this, then I am betraying these people [and] myself."

Randall King is delightful to watch as Katarina's curmudgeon of a father, Morton Kiil, as he spits and spurts his readiness to stick it to the mayor and powers to be. Equally, Katie O'Bryon-Champlin is a powerhouse in the role of Nina Aslaksen. Even though the firm-voiced, confident publisher and businesswoman has pledged her support, she does give away her later true colors when she advises Thomas early on that "change can only be made in small steps" through "moderation and incremental reforms."

All of the actors portraying these four early supporters of Thomas prove their mettle as each does a Jekyll-Hyde switch once the dollar becomes more important than the health of others. Each takes on an individually expressed, biting, venomous manner that is somewhat disquieting to watch.

But the most spellbinding performance of the evening comes from Coleton Schmitto as Thomas speaks vehemently and passionately before the gathered townspeople–they being us, the audience–his own truths about himself and society in general. Looking at each of us directly in the eyes, he declares, "We are all implicated ... all part of the toxic swamp ... complicit, corrupted, and corrupting." His message and his manner of presentation is something I will never forget, especially with his words coming back to haunt us as we watch the final minute of this adaptation's amendment to Ibsen's original ending.

Scenic designer Christopher Fitzer gives us immediate notice of the evening's tone as we enter and see painted graffiti on black walls screaming such banners as "Anarchy is political opinion" and "Delay, Deny, Defend, Depose"–all decorated further by a hand-drawn skull and bones. As sound designer, Steve Schoenbeck entertains our entrance as well as scene changes with blaring, contemporary, hard-rock numbers such as Beady Eye's "Face the Crowd." That recorded music complements the live number ably played and sung by Thomas, Katarina, Hovstad, and Billing as their band at one point practices The Dandy Warhols' "I'd Like To Help You With Your Problem."

That last touch is just one of director Kenneth Kelleher's brilliant decisions to ensure Ibsen's 1882 classic is now completely 2025. Ibsen might be shocked, but I suspect he would applaud not only graffiti and a live band, but also paintball wars, whitewashing of the truth (literally), and the audience serving as voting and opinion-speaking townspeople. All together, San Jose Stage Company's production of the Ostermeier and Borchmeyer's adaptation of Ibsen's An Enemy of the People is packed with relevant messages and eye-opening warnings that appear to have been inspired and to be in reaction to the news of the past couple of weeks.

An Enemy of the People runs through March 2, 2025, at San Jose Stage Company, 490 South 1st Street, San Jose CA. For tickets and information, please visit www.thestage.org or call 408-283-7142.