Who knew that tucked away in a little building in the historic Ft. Worth Public Market Complex one could see obscure plays from a widely studied, yet rarely performed playwright done with passion and skill? Now I know, and I am here to spread the word about the amazing work Pantagleize Theatre Company is doing, particularly with their production of Henrik Ibsen’s When We Dead Awaken.

Founding Director Violet O’Valle describes Pantagleize (from the Greek meaning “always” and “shining”) as the “most unique theater in Fort Worth,” and that “we do things no one else will do.” This critic could not recall a single major production of an Ibsen work last year, yet here is Pantagleize doing another of “the father of modern drama’s” plays after they previously did Little Eyolf.

When We Dead Awaken is Ibsen’s last play, and one that is deeply personal, daring, and symbolic. Kami Rogers in her full length directorial debut, crafts this gloomy piece with an artist’s eye, and an actor’s sensibility for exploring the dramatic process with freedom.

Professor Arnold Rubek (David Crouch) is a famous sculptor who is empty and disillusioned with what he has become as an artist – a commission-performing hack who has lost his inspiration. He is vacationing at a seaside spa with his equally listless wife, Maia (Rene Sarradet). It just so happens that his former muse, Irene (Holly Kiehn) is also at the resort trailed by a dour human shadow, Sister of Mercy (Amanda Henderson employing a frightening scowl).

A “dirty bear hunter,” Ulfheim (a remarkable Aaron Vaughan) tempts Maia away for adventures in the wild. This womanizing, bloodthirsty, and alluringly “ugly” man is a direct counterpoint to the mild and artistically impotent Rubek, thus the appeal. For her part, Irene is damaged and feels demeaned by having to pose for Rubek in her youth, so much so that she keeps claiming that she is “dead,” and she brags about killing many others. There is a spirited and dramatic conclusion up a treacherous mountain that dares to not tie things up neatly thereby retaining its dark European sensibilities.

The dialogue is translation-speak, a bit wooden and stilted, but it facilitates the aloof soullessness of most of the characters. Sarradet with her alluring arrogance and expressive eyes handles the language the best, displaying a perfect accent for her character. Crouch as the bitter and “misanthropic” sculptor is appropriately weary and sluggish, but is perhaps too young for the part. Kiehn, an apparition in white, comes off as an insane harpy, but I suppose that was a deliberate choice. Heather Alverson’s Past Irene is earnest of beauty, and youth, and vital enough to seem a worthy model for Rubek’s masterpiece.

Christina Garcia’s costumes are period functional and fabulous, especially Maia’s gowns and accessories. Aaron Plaskonos’ sound design evokes the pastoral environs of the spa with believability and interest. Pantagleize Theatre may be “hard to find,” but it is certainly worth the effort if they are serving up this kind of out-of-the way fare.