Master Builder: The Need to Release

As you enter the theatre Halvard Solness, Henrik Ibsen's protagonist in the eery Master Builder, sits alone on an empty stage, silent and staring pensively around the small space. One immediately identifies him as a man who is utterly haunted. Consumed by feelings of guilt, inadequacy, and a need to be constantly in control, he finds himself trapped within himself, unable to accomplish anything. He blames himself for the death of his children in a fire, and is reluctant to see his projects taken over by the younger generation, unable to accept that his time must soon come to an end.

Hilda Wangel, portrayed in a mesmerizing performance by Gemma Arterton, appears as an almost mythical creature from Solness's past, and reminds him of his promise to build her a castle, and run away with her to escape from his current dilemma. We in the audience have no means to verify her story, and are left to wonder if what Hilda says is really true, or whether perhaps she serves as a figment of Solness's subconscious. Regardless of what interpretation is adopted, Hilda is telling Solness that he must make an effort and take action to release his "sickly conscience" and move towards genuine happiness, and that it cannot be found in his present condition.

We all go through times in our lives when we feel that the events of the world are conspiring against us, and as these feelings intensify, our delusions are vulnerable to exponential growth. For me, this play serves as a metaphor for how easily anxiety can envelop us in its grasp, and if we don't commit ourselves to releasing the tension, the consequences can be catastrophic. This production offers no prescribed route to that leads us to the internalization of this universal message. Instead, it asks us to come to our own, individual realization, and release any tendency we might have to be spoon-fed a straight-forward message. The set consists of nothing but a square of bare dirt from the earth, a chair, and a long staircase in the back enshrouded in shadows, waiting for Solness to take the first step up.

I believe the production was effective by immediately taking advantage of the intimacy of the 800 seat Almeida Theatre, and allowing us in the audience to feel as if we are in the middle of the conversation taking place.