The Master Builder – Arcola Theatre, London

A stylish production of The Master Builder, directed by Mehmet Ergen, melds strong performances with striking design.

The Master Builder

This was my first time seeing Henrik Ibsen’s The Master Builder. And I have to say, I think Desmond MacCarthy’s erstwhile summary of it as the tragedy of an “elderly architect who falls off his scaffold while trying to show off before a young lady” summarises it quite neatly indeed. Partly autobiographical and based on Ibsen’s own relationships, of varying sorts, with much younger women, I did rather wonder why Ibsen would want those relationships, or his insecurities over being pushed off his perch by the younger generation, revealed. But, for the moment, I digress.

The production currently on at the Arcola Theatre uses David Edgar’s translation of Ibsen’s work. In it, we meet Halvard Solness (Greg Hicks), an architect in all but name (without formal training, he remains a Master Builder). He has forged a successful career, seemingly profiting at every turn from the misfortunes of others. When his wife Aline’s (Sally George) family home burned down, he parcelled out the land and built houses on it. When Knut (Robin Hooper) and Ragnar Brovik’s (Ryan Wichert) architectural practice failed, he took them in and made what use he could of them, while also stringing along Ragnar’s fiancée Kaja Fosli (Jade Williams). Like many individuals who feel they owe some sort of cosmic debt for their misdeeds, he’s constantly looking over his shoulder. In Halvard’s case, the fear that the younger generation will come and take it all away is particularly acute.

And then the younger generation does well and truly arrive, in the form of Hilde Wangel (Louise Binder). Halvard met Hilde ten years ago, when she was a girl of thirteen. He doesn’t initally remember Hilde’s version of that day, when he kissed her and promised to build her a kingdom. But she certainly remembers the wonderful sight of him laying a wreath next to his new church steeple.

Performances and Design

I imagine this is a tricky play to stage. None of the characters are particularly likeable, for a start. But the Arcola production has some good performances indeed. Starting with Binder as Hilde, who walks a thin line between master manipulator (the bird of prey of the play’s imagery) and someone who really believes what she’s saying. Hicks as the Master Builder himself is also very good. His Halvard Solness is weak-willed, sure, and perhaps delusional, but the way he propels the action of the play forward is entirely compelling. Sally George as his wife Aline was perhaps my favourite of the evening, though. The grief and brittle dignity woven through her performance are exceptional.

Robert Innes Hopkins’ design backs up the performances very well. Ibsen’s symbolism of thrusting spires is tamed into architects’ models. Upended, bare, white trees and the frame of a house and bare loom over proceedings with a barren, clinical aesthetic. Halvard’s destruction of his own home in pursuit of building homes for others is made manifest. I didn’t understand the intent behind bringing in a large-scale projection at the very end, and wondered if more could have been done with the concept. Likewise I thought more could have been made of the lighting and sound design, by Richard Williamson and Deniz Dortok respectively.

But overall I think this is a good production of a play that is not really my jam. What would life be though without challenging ourselves to try something new? By doing just that last night at the Arcola Theatre, I saw some top-notch acting, a beautifully designed set, and spent a couple of hours lost in the struggle of one man to capture rather than succumb to the vigour of the next generation.

Salterton Arts Review’s rating: 3.5/5

The Master Builder on until 21 November 2026. More info and tickets here.