This new version of The Master Builder references The Fountainhead in its first sentence, and again a few times after. It’s a play about an architect referencing a huge culturally influential book about an architect. I guess if you’re going to modernise an Ibsen play about an architect, you have to look at one of the biggest popular culture shifts around the business of building. Howard Roark. Individualism. Ayn Rand. Chaotic Neutral D&D alignment – a very hard person to categorise as she led a movement until people realised she was leading a movement and was female at which point all her little Howard Roarks joined everyone who already hated her to demonise her and throw up the likes of Jordan Peterson instead.
I absolutely consumed The Fountainhead as a teenager, it’s a teenage boys wet dream. There’s nothing in it about kindness or community, it’s about the great thrusting I AM. I can see why it needed to be put at the heart of this Ibsen rework.
I love an old building. If the building is still standing and beautiful why knock it down and put a new one up?
But the theatre was packed. It was packed with Star Wars fans and the like. Afterwards it was absurd, to witness this breathing mess of people who wanted to get a photo with or a scribble from the mister famous person.
This was a beautifully directed piece of theatre, brilliantly held by excellent actors. It didn’t need to be modernised but I guess the crowd might have been perplexed if it hadn’t been. The change from “The Master Builder” to “My Master Builder” perhaps betrayed an authorial intention to make it all about the Ewan part, whereas in the original it is ambiguous – who is the master builder really? The one who builds buildings? The one who builds a social situation to fit their needs? The one who builds a career despite every possible negative influence?
It’s a dark piece about how we lie to ourselves and others, a warning about why we should never outsource our happiness. It’s an incredible account of a great play. I did enjoy the modernising, and the references. But I couldn’t find the edge. Ambiguity is all very well but I didn’t have enough to hook things on so at the end it was just like “oh he’s badly hurt” but it’s the end of a play, it comes out of nowhere and why have we sat here and watched this story if there’s no conclusion? Nora’s door slam was heard across the whole world. Ibsen, that’s the thing about him, he lets his people talk, but then he punctuates the ending.
The architect part was given enough unexamined misogyny to make him unsympathetic but it was all slightly at odds with the emotionally responsive character we watched when they weren’t saying the chosen awkward things. The ingenue was wonderful and empathetic and powerful and it is good to see an actress hold her height when surrounded by wee ones – shypokey head and hands is the end of so many gorgeous tall actresses. She really held her territory and shone for it. The master manipulator knows what she’s gonna say and how it’s gonna go down. She was certain and delicious and occasionally showed a great heart.
It was strange to see them leaving the theatre to a sea of Johnnies. Lou came out before Ewan so I didn’t see what would have descended on the poor fucker when he got out. If I was him I’d rig a deathslide to a building opposite. If he tries to be willing every night, he won’t get home until next week.
I had a great night at the theatre.


