McGregor and Debicki Spark Electrifying Chemistry in New West End Play!
At the start of Lila Raicek’s latest production, we meet Ewan McGregor as a ‘stone-architect’ in midlife, who is presented with Elizabeth Debicki’s graceful character named Mathilde.
A thrilling instant of realization takes place between the two actors, as they rekindle the magic of Hollywood on the London stage once more, with a gap of 17 years for one of them, McGregor.
His character Henry freezes, as if he has seen an apparition. Which in many ways, he has.
As soon as his wife departs, Mathilde gently caresses Henry’s hair, implying that at one point in their lives, they could have been something more than just friends.
As I reflect back on those days, much like Mathilde does, I can’t help but be transported to a time when our roles were reversed – I, a student, and he, a professor. In a way that feels almost theatrical, I find myself reenacting the scene of our initial enchantment.
In a different phrasing, the scenario could be described as follows: He affectionately referred to her as ‘my tiny gnome’, while he was addressed as ‘my mentor’ by her. They found intimacy on a desk. However, their relationship was disrupted when his wife Elena (played with intense passion by Kate Fleetwood) became enraged and publicly criticized her for it.
Over a decade’s worth of vengeance had been honed within Elena, further fueled by her unfavorable depiction in Mathilde’s book, Master. Now, she seeks to reintroduce herself into their lives, hoping to make the lovers confront their past.
It’s clear that Debicki has an exceptional ability to portray characters similar to those seen in “The Crown” as Princess Diana and “The Night Manager,” where she took on eerie roles. This talent of hers is quite unique, as it involves capturing distinctive traits like the crooked-neck pose and downward gaze, which seem to resemble ghostly figures.
Once more, gracefully moving about the stage, she’s wearing a nearly transparent silver slip dress that fits like a second skin, stirring up emotional turmoil effortlessly.
It’s unfortunate that the character of Mathilde in this adaptation seems less dynamic and vibrant compared to the fiery, lively version of her in Henrik Ibsen’s original play, “The Master Builder,” who was known as Raisa’s inspiration.
In his sixties, Ibsen found himself captivated by a younger woman, an experience that served as inspiration for the intricate and unconventional love triangle portrayed in one of his plays.
Raicek’s take might have been retitled The Master Builder’s Wife.
Moved to the fashionable Hamptons, a place frequented by the wealthy and privileged during summer months, Elena – a powerful figure in publishing – is organizing a party to honor Henry’s impressive renovation of an ancient whaler’s church. This architectural masterpiece serves as both a monument and tribute to their son Max, who tragically passed away there a decade ago in a fire.
In Michael Grandage’s stylish staging, the scene alternates between a magnificent glass structure featuring steps leading to the heavens and a luxurious beachfront home overlooking shimmering seas.
But while Ibsen was the master of the unspoken, Raicek spells everything out.
For Raicek, Ibsen’s aging architect character serves as a contemporary exploration of ‘a significant imbalance of power,’ that hindered a young woman’s professional growth.
Fleetwood’s captivating portrayal of Elena, electrifying and jagged, ignites the stage. However, the other characters, skillfully acted though they may be, seem unconvincing and lack depth – more like tools used to convey ideas about sexual politics, their dialogue laden with architectural imagery and metaphor that can feel overly complex.
It’s not surprising that grounded individuals like McGregor find it challenging to deliver sincere statements like ‘I require a dwelling offering more light than shadow’ in an emotionally resonant manner.
Even down-to-earth individuals such as McGregor often find it difficult to convey heartfelt sentiments, like expressing the need for a home with more light than darkness, convincingly.
This contemporary renovation looks fabulous, but you long for the rich strangeness of the original.
- My Master Builder runs until July 12.
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2025-04-30 01:48