The Master Builder is probably Henrik Ibsen’s most autobiographical piece. Inspired by his fascination with a younger woman, the Norwegian playwright created a story which examines the existential and universal themes of guilt, desire, creativity and despair. The Old Vic’s fantastic production of The Master Builder directed by its artistic director Matthew Warchus and starring Ralph Fiennes, is a tribute to Ibsen’s compelling work.Harvald Solness is long past his prime. Stuck in an unhappy marriage, haunted by the tragic events of his past and feeling threatened by younger rivals the titular master builder no longer feels satisfied with “building houses for real people”. With the arrival of Hilde Wangel, who comes to claim a kingdom that Solness promised her when she was 13, Harvald he is forced to answer for his past and face his future.
There is no doubt that this production belongs to Ralph Fiennes as he delivers an unforgettable performance.His stage presence, his voice, physicality and incredible emotional range are what makes his Harvald a multi-layered, internally conflicted man who finds himself torn between duty and desire. As the play progresses Fiennes undergoes a change that suggests hope for the master builder, but as we soon realise “there is nothing but despair”.
It would be unfair not to mention Sarah Snooks, whose Hilde is far from naïve object of infatuation so often portrayed in other productions of this play. Snook’s Hilde is a strong, determined and intelligent woman, which adds more layers to her relationship with Harvald.
David Hare’s adaptation of the text is subtle with few a moments of powerful histrionics and a smattering of direct contemporary language that emphasises the modern relevance of the play.
Rob Howell’s set, which consists of tree branches and a massive tilted disc, like Harvald himself, changes its position throughout the duration of the piece which adds a sense of solitude and stealth; an atmosphere so present in Ibsen’s works.
The Master Builder at The Old Vic not only does justice to Ibsen but is theatre at its best: bold, relevant, brilliantly acted and compelling.
I tend to judge plays that I see by the amount of time I spend thinking about them afterwards, and I know that this production will stay with me for a very long time. An absolute theatrical triumph!
In the book ‘Between the World and Me’, author Ta-Nehisi Coates’ brilliant and blistering examination of American race relations, he states that the ongoing condition for African-American men and women in the United States is one where they are constantly at threat of “Losing their body”. This disturbing phrase kept coming to mind last night while I was watching the National Theatre’s excellent new production of August Wilson’s first hit play MA RAINEY’S BLACK BOTTOM. In a month where African-American actors are protesting the Academy Awards for lack of representation it is dispiriting to find that a play written in 1982, examining the exploitation of artists in the 1920’s, is sadly still relevant today. 