A compelling and unsettling exploration of ambition, ageing and the seductive pull of youth
Henrik Ibsen’s The Master Builder at the Arcola Theatre is a gripping production that explores ambition, power, and the fear of growing old. Directed by Mehmet Ergen, in a version by David Edgar, this psychological drama proves that a play written over 130 years ago can still feel relevant today.
At the centre of the story is Halvard Solness, a successful but troubled architect, played brilliantly by Greg Hicks. Despite his professional achievements, Solness is haunted by insecurity and a desire to hold on to his influence. Hicks delivers a commanding performance, capturing both the authority and vulnerability of a man struggling to come to terms with his own limitations. His ability to shift between confidence and insecurity is compelling, particularly as his fragile state of mind comes to the fore.
Louisa Binder as Hilde Wangel is particularly unsettling. Her arrival disrupts Solness’ carefully constructed world, and Binder brings an unnerving intensity to the role. The relationship between the two is seductive, disturbing, and deeply uncomfortable. Their exchanges are charged with tension, leaving the audience questioning who is really in control. Ergen makes good use of this intimacy, allowing the tension between the characters to carry the production without the need for elaborate staging.
The staging is minimal but effective, allowing the performances and psychological complexity of the characters to take centre stage. Within the intimate setting of the Arcola, there is little room to escape the uncomfortable dynamics unfolding. The production holds your attention throughout, with a relatively short first half setting up an intense second.
What makes The Master Builder compelling is how contemporary its themes are. Solness’ yearning for youth, his fear of being surpassed and his struggle to reconcile ambition with personal fulfilment are all recognisable anxieties today. Despite its 19th century origins, the play offers a modern examination of ego, insecurity, and the lengths people go to preserve their sense of importance.
The production builds towards a surprising and jarring conclusion that leaves the audience unsettled long after the final scene. It is a fitting end to a play that consistently challenges the audience’s sympathies. Thought-provoking and anchored by two excellent central performances, The Master Builder is well worth seeing. Whether you’re a seasoned theatregoer or relatively new to Ibsen, this is an accessible and engaging introduction to his work.
The Master Builder runs at Arcola Theatre until 21 November. Tickets here.