David Edgar’s condensed Ibsen benefits from an established cast and striking design, but is less clear in its purpose, leaving the production lacking cohesion. Rating
Good
David Edgar’s version of Henrik Ibsen’s The Master Builder feels a somewhat surprising choice for the edgy and brilliant Arcola Theatre, whose programme widely supports new writing with a sense of daring. Ibsen was certainly daring for his time, and his themes of ambition, legacy and fear remain timeless. In this contemporary reworking, directed by Mehmet Ergen, Edgar condenses the three act play to two, tightening the plot and language but losing some of its clarity in the process.
The stage is set with an immaculate black polished floor and suspended architectural designs, creating a striking backdrop. It’s a modern office ready to unleash corporate guile and the male perspective within it. The Master Builder, Halvard Solness (played by Greg Hicks), is consumed by his own ego and preservation of his legacy, but his authority is challenged by the arrival of Hilda Wangel (Louise Binder), who holds a secret to his past. The abridgement is particularly effective in moments in the latter half when the dialogue explores themes of desire, ambition and fear of handing over to the next generation.
The production works in places but not in others. It’s a giddy blend of surreal and realistic functions at the same time, which doesn’t quite come together. Some actions appear redundant, with endless drinking, moving of dry flowers, or standing on tables for no clear reason, and entrances and exits occasionally tip towards farce.
The performances are (as to be expected) strong, and the established cast brings weight to Ibsen’s troubled characters. The lighting and soundscape punctuate the ominous dramatic points, and the dress and costume of the characters blends modern with formal attire. However, the overall production lacks cohesion, caught between realism and melodrama, and the shortening of the play lessens the impact of the fateful climb.
The portrayal of women is also frustratingly familiar: the grieving wife, the spurned lover, the alluring young woman who triggers the man’s downfall. That’s on Ibsen, but in 2026, there’s room to find a more compelling way of exploring them.
Any director has their work cut out with Ibsen, particularly in an abridged version. There is much to enjoy here, in visual design, strong performances, and the themes resonating to modern day. Edgar’s version is a little unclear in its intentions. It’s a polite nod to Ibsen, and succeeds there, though a bolder approach would make for a more compelling production.
Playwright: Henrik Ibsen
Translator/Version: David Edgar
Director: Mehmet Ergen
Designer: Robert Innes Hopkins
Lighting Designer: Richard Williamson
Sound Designer & Composer: Deniz Dortok
Assistant Director: Aoife Beaumont
The Master Builder runs at Arcola Theatre until Saturday 21 November.
