By Neil Durham

WORTH A LOOK?: ****

WHEN?: Friday 17 April, opens 29 April and runs through 12 July 2025

McGregor (T2 Trainspotting) returns to the West End stage after a 17-year absence playing ‘starchitect’ Henry Solness as his British publishing magnate wife Elena prepares to throw a party for him on the eve of July 4th in the Hamptons.

• Read on for reasons including how My Master Builder is an elegant construction well worth inhabiting

Author Lila Raicek finds her inspiration from Ibsen (The Master Builder, Old Vic) and her female characters have far more agency with Kate Fleetwood (A View From the Bridge, Theatre Royal Haymarket) especially monstrous as Elena who invites the former student Solness betrayed her with a decade ago to the celebrations.

Her solicitor is preparing to serve divorce papers on Solness as she sets her sights on Solness’ protégé Ragnar who is played by David Ajala, occasionally in swimming trunks, who is eclipsing his former mentor professionally and is now the object of Elena’s affections.

McGregor’s Solness, speaking in his natural Scottish accent, continues to mourn his late son, is gripped in midlife crisis and reminded of his infatuation with now journalist Mathilde, an especially languorous Elizabeth Debicki, whose debut novel manuscript Master has been read by Elena.

Raicek’s decision to have a fading rock star-type architect, or star-chitect, as the subject of her story allows her to explore a world where the creation of buildings has real allure and perhaps unexpected sexual potency.

The 1st half of My Master Builder is the more impressive setting the scene for an Act 2 Who’s Afraid Of Virginia Woolf?-type (Harold Pinter Theatre) showdown as everything unravels during an alcohol-fuelled party.

McGregor is lovably puppy dog-ish, Debicki beguiling but we suspect it’s Fleetwood’s often hilarious yet terrifying publishing magnate that will linger longest in the audience’s minds.

Like buses, you wait for long enough for a new play/adaptation inspired by Ibsen and 2 arrive near simultaneously. Ghosts at Lyric Theatre, Hammersmith, is better but has stronger source material. This is perhaps the adaptation that has most improved on the foundations of the original work.

It’s also starrier and we spot director Michael Grandage (Orlando, Garrick Theatre) in the audience tonight as well as the legendary Celia Imrie (King Lear, Old Vic) in the row behind us.

Particularly impressive is the staging as the vertigo-suffering Solness explains visitors should steer clear of the top of the tower he is opening.

My Master Builder is an elegant construction well worth inhabiting.

• Main pictures via Facebook courtesy DMT Tickets
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