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Henrik Ibsen's 1867 folk fantasy was originally written not to be staged, but to be read as a poem. The episodic tale conjures a series of actions, locations and images that are as rich, fantastic and entertaining as they are difficult to produce.

Fortunately for theatergoers, director Scott Wise and composer Doug Levine have streamlined this unwieldy succession of scenes into a spare, accessible narrative that updates the tale while retaining the themes and intentions of the original.

The revisions actually help to focus on the core plot: Peer Gynt, the irresponsible, lying trickster and anti-hero, wanders the earth in search of his self and purpose, only to find it on his return home.

Even so, the pared-down production still runs well over two hours.

The adaptation retains the poetic feel of the original while reducing the cumbersome, antique feel of William Archer's translation. It's more immediate and contemporary without being tied to a specific time. Levine's jazzy, airy score is richly varied in mood and tempo and is one of the production's chief attractions. Some credit for that goes to the four musicians -- Doug Levine on keyboard, bassist Paul Thompson, percussionist R.J. Heid and Lenny Young on woodwinds.

It utilizes a cast of 12 with some actors shouldering multiple roles. But wisely, the roles of both Solveig and Peer Gynt are double cast to enhance the passage of time and character change. Corey Rieger's young, irresponsible Peer Gynt is succeeded by Mark D. Staley's older, more brooding and more dangerous persona. Daina Michelle Griffith's young and silly Solveig becomes Lenora Nemetz's more mature, powerfully voiced, but still steadfast Solveig.

A chorus of four females provide necessary background and bridging throughout. Solveig's plaintive song as she awaits Peer's return is all that is retained of Peer Gynt's fourth-act wanderings that caused nightmares for scenic designers.

Here set designer Stephanie Mayer and lighting designer Andrew David Ostrowski create a visually rich single setting that provides attractive multiple swiftly changing looks for the diverse locales. The curving deck of a ship swells beyond the proscenium frame of the Rauh Theatre, a symbol of Peer Gynt's life voyage. Less clear is the meaning behind the center-stage tree of neatly composed, but disconnected, pieces of trunk and branches.

Though purists will likely mourn this adaptation's excisions and changes to the original text, it should be noted that Ibsen himself suggested abandoning all of act four when the play moved toward production in 1874.

Wise and Levine retain Ibsen's themes and the flavor of Norwegian folklore. But they also give us a workable and nimble adaptation and a vibrant, compelling score that converts this cumbersome, virtually unproduceable period piece into an entertaining and enjoyable evening of contemporary theater.

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