My Master Builder Review
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Lila Raicek's adaptation of Ibsen's play ‘My Master Builder’ presents a morally complex tale of tragedy, desire and most prominently the reverberation of grief. It however often lacks the emotional clarity to fully engage.
Set in the luxurious Hamptons in the span of one tumultuous day, we join ‘starchitect’ Henry Solness (Ewan McGregor) as he unveils his latest creation. His success in the professional sphere is simply presented as a byproduct of his grief and negligence regarding the private areas of his life, including his deteriorating relationship with wife Elena (Kate Fleetwood).
The pair's combative interactions are a highlight of the production and Fleetwood in particular shines as a ferocious yet tragic figure overcome with anguish and heartache, managing to remain sympathetic (particularly in the production's second act) despite the characters often reprehensible actions.
The complexity of the married couple's relationship is enhanced by the introduction of Henry's former student and journalist Mathilde (Elizabeth Debicki) whom he shared an intimate connection with ten years prior.
The premise of marital affairs and spousal jealousy is one commonly seen in media, the basic concept a reflection of our own insecurities and fears regarding intimacy. Therefore, it can be argued that My Master Builder does not cover provoking territory but instead uses common tropes to prop up its often underdeveloped characters. This can be seen through the title role of Henry who, whilst poetic in his words, lacks substance or intrigue and instead appears puny when compared to his female counterparts (a fault which lies within the production's script). This translates to most of his interactions, including his confessions of love to Mathilde - or as he affectionately, if not uncomfortably, refers to her as ‘his troll’. Where she appears composed and self-aware, McGregor is left to dote excessively and moments of intimacy become somewhat comical, causing a sense of tonal confusion which detracts from the pair's chemistry.
The limitations of Raicek's writing can also be seen within the character of Ragnar (David Ajala), whose charisma and humour feels somewhat misplaced and often awkward. The relationship between him and Elena's assistant Kaia (Mirren Mack) is shallow and left unexplored, instead simply used as a cheap plot device.
Despite the production's somewhat flawed script, the moments of true intrigue and emotion are palpable and can be felt in every corner of the theatre. This is mainly to the credit of Debicki and Fleetwood, whose performances are simultaneously raw and considered and in a specific moment of confrontation between the two towards the show's climax, the actors pure talent is unmissable. The same can be said for McGregor in moments, however he is not provided with the same emotive material often associated with a leading role.
There are glimmers of nuance throughout the production's two hour runtime, especially regarding the topics of power imbalance and the complexities of disloyalty. However certain subjects could be explored further, such as the loss of a child - experienced by both Henry and Elena, their grief manifesting in their dedication to their work and the varying degrees of their success.
The sets design is expertly crafted by Richard Kent as we're encouraged to view the beauty of Henry's work, which acts as a mere facade for the ugliness within the couple's home. Dedicated to his late son, the scale of the structure could be argued to highlight the insurmountability of their grief. The reveal of Henry's vertigo regarding heights is simply a manifestation of his professional and personal fears surrounding loss.
As the show nears its conclusion and tensions notably build, the audience are unfortunately not rewarded with a satisfying ending. Instead the final scene feels jarring and anti-climatic compared to the emotionally-charged moments of electricity previous where the production reveals its true potential.
Overall My Master Builder, while not perfect, does have many compelling qualities including stellar performances and lavish design. However the script, whilst fundamentally intriguing, leaves a lot to be desired.
