There is plenty that is covered in Lila Raick’s play to make it a fascinating watch in its cat & mouse nature.
Lila Raicek’s modernised take on Ibsen’s The Master Builder has plenty to speak to for audiences in 2025 and at the same time manages to stand on its own two feet as an individual play examining the contrary nature of relationships in a fierce way.
At the centre of it all, couple Henry and Elena seem to flourishing in their retrospective careers – but their private lives are a different matter as they are still dealing with the outcome of a tragic accident and the ripples of consequences that follow afterwards. These consequences are confronted in the form of a dinner party organised by Elena — who invites Henry’s long-estranged student, Mathilde (who he had a tryst with). What follows is powerful examinations of grief, love and facing up to the result of actions.
Set on Richard Kent’s minimalistic set (that has a feel of an architecture drawing to it has a great importance as to what happens when the story unfolds), Michael Grandage’s production is filled with plenty of drama and intense feelings that drive the story wonderfully forward. It is a slow burner as each character begins to try and assert their dominance and the story unravels – but it builds effectively to ensure that the ending is powerfully done.
The female characters it does have to be said are the most effective (that is not to say that Ewan McGregor as Henry and David Ajala as Ragnar don’t have their times to shine). In particular, the moments in which Elena and Mathilde deal with each other has a rawness to it. It highlights issues such as whether Henry groomed his student or whether he was so lost in his grief seeking comfort in someone unconnected was his way of coping, while Elena’s rage at Henry’s actions in the wake of their combined grief is extremely powerful.
There is a real bite to the performances from the cast – in particular from Kate Fleetwood as Elena, who doesn’t hold back in any scene that she is in. Her grief and rage is palpable every step of the way and is truly a fierce performance in the best possible way. Meanwhile, Elizabeth Debicki offers a calm and well reasoned performance as Mathilde that is equally compelling to watch in a more understated way.
Ewan McGregor is charming and sincere as Henry, showcasing how he is still struggling with his grief and guilt in regards to the past – but it does feel as though his character could have been a bit bolder emotively (though that is perhaps more down to the way in which the character has been written than the performance) yet it is still an assured performance. Mirren Mack brilliantly develops the character of Kaia as the show develops, while David Ajala offers charm as Ragnar, fitting in well with the other characters as the story unfolds.
Is My Master Builder going to be to everyone’s taste? No – which is absolutely fine as it is more about confrontation about past events than what is happening in the present, but it does offer a vivid insight into the way that grief and its consequences can affect our lives into the future.
It is a powerful play that grabs the attention from start to finish to ensure that the audience will be left wondering what happens to the characters after the curtain has fallen.
By Emma Clarendon
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Rating: ❤️❤️❤️❤️