Review: The Wild Duck, The Coronet Theatre

The Wild Duck is one of Henrik Ibsen’s most celebrated works. Here, it’s enacted in Norwegian with surtitles by the Norwegian Ibsen Company and is, unsurprisingly, stunning. A tale concerning class, privilege, blindness – to the truth and in reality, it’s delivered with searing clarity by director Alan Lucien Øyen.

When Gregers Werle (Christian Rubeck) returns to his home town after 15 years away he takes it upon himself to reveal the truth about his friend Hjalmar Ekdal’s (Kåre Conradi) family, convinced that this will enhance their lives. But his idealistic meddling comes at a devastatingly high cost.

Øyen’s production is all about the human story, using an open stage and minimal props with beautifully understated elegance. Our attention focusses entirely on the flawed humanity, examined in an almost claustrophobic space. Everything feels exposed, starkly reflecting the disclosure of secrets throughout. Even the surtitles translating from Norwegian to English speak to the idea of uncovering; of meaning being revealed in black and white, when what we’re being asked to recognise is sometimes better left a grey zone – the “life-lie” that makes everything manageable. 

The choreographed cast are fastidiously directed, with outstanding performances throughout that manipulate the tension until it practically hurts. Rubeck’s zealous Gregers is thrillingly creepy, bringing a sense of both Hamlet and preacher to the stage in a sinisterly manipulative role that triggers tragedy. Conradi’s journey as Hjalmar from contented husband to devastated wreck is superb and meticulously nuanced as it shifts fluidly between heartfelt warmth, self-importance, conviction and delusion. As Gina, Yvonne Øyen shows huge, endearing warmth, but also a disciplined control that creates a palpable sense of secrets suppressed. Hermine Svortevik Oen navigates the role of teenage Hedvig with care and assurance, simultaneously performing playfulness whilst disclosing a dark, mature insight. Her performance gives a spine to the play as a whole and makes the climax particularly effective/affective, whilst Hedvig’s distinct and convincing relationships with the other characters enable their roles to shine.

Lighting (Martin Flack) and sound (Alan Lucien Øyen) are used minimally but exactly, creating distinct shifts in atmosphere that support the performance beautifully, and haunting melodies reinforce dramatic tension or add welcome relief. Øyen’s set design, although sparse, speaks lucidly to ideas of secrets being glimpsed and revealed, and in exploiting slightly offstage spaces we’re given hints of an unseen world beyond the domestic drama made visible. 

Silje Teland Pedersen’s costume choices and muted palette speak articulately about the characters, Relling’s (Joachim Rafaelson) badly tucked shirt in telling of his lack of care for superficial appearance, Hjalmar’s white scarf an indication of his pretension. 

The Wild Duck is a long show with a running time of three hours, but every second is worth it for the supreme quality of production and performance. Written 140 years ago, it’s astonishingly timely, in a world where social media forces us to question authenticity and the personal facades that so often mask our reality. At times comic, warmly human and ultimately devastatingly tragic, this is undoubtedly Ibsen at its finest.

Written by: Henrik Ibsen
Direction, Set Design & Sound Design by: Alan Lucien Øyen
Costume Design by: Silje Teland Pedersen
Lighting Design by: Martin Flack

The Wild Duck runs at the Coronet Theatre until Saturday 2nd November. Further information and booking details can be found here.