Lila Raicek’s My Master Builder, which has opened at Wyndham’s Theatre, is a richly layered new play inspired by Henrik Ibsen’s similarly titled The Master Builder. Set in a stylish Hamptons mansion over a Fourth of July weekend, this contemporary reimagining explores themes of power, vulnerability, and ambition within a struggling marriage. Directed by Michael Grandage, the production boasts a stellar cast led by Ewan McGregor, Elizabeth Debicki, and Kate Fleetwood.
The story centres on Henry Solness (McGregor), a celebrated architect nearing the twilight of his career, and his wife Elena (Fleetwood), a formidable publishing magnate. Their already fragile relationship is thrown into turmoil by the unexpected arrival of Mathilde (Debicki), Henry’s former pupil and past lover, whom he knew as Hilda, which unearths buried tensions and unravels long-held secrets. Raicek’s script deftly balances moments of dark humour with raw emotional confrontation.
Ewan McGregor’s portrayal of Henry captures the character’s mix of charm, insecurity, and fading grandeur with nuance and warmth. His vulnerability makes Henry a deeply human figure, struggling with his legacy and relevance in a world that is rapidly changing around him. Yet, perhaps due to writing it always feels like something is missing and that McGregor has been short-changed.
Elizabeth Debicki’s Mathilde is beguiling and enigmatic, the perfect catalyst for conflict, done with charm and grace. Kate Fleetwood’s Elena is perhaps the most memorable, delivering a performance that is both chilling and compelling. Her portrayal of a woman grappling with multiple emotions is layered with both sharp wit and poignant despair.
The supporting cast, including David Ajala as Ragnar, Henry’s protégé, adds further depth and occasional levity to the proceedings. Ajala’s Ragnar, an “influencer architect” who threatens to eclipse Henry, provides a refreshing contrast with his charismatic and witty presence, injecting moments of brightness into the otherwise intense drama. Mirren Mack completes the cast as Kaia, and gives the character just the right amount of confidence and vulnerability. It’s just a shame that more was not done with these characters, as further development would have enhanced the overall storytelling.
Richard Kent’s set design is sleek and elegant, with a striking white structure that evokes the architectural themes at the heart of the play, revealing an opulent but stylish home that transports us to the heart of America’s playground for the rich.
At just over two hours, including an interval, My Master Builder is a tightly plotted, well-acted piece that holds the audience’s attention throughout, and while Grandage has ensured each character maintains a distinct voice, it always feels like the foundations are a little too shaky. My Master Builder is not the most radical interpretation of Ibsen, but it is an homage to the original, while constructing its own identity.
