The Lady from the Sea at Bridge Theatre Review
Written by Cathie for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Trigger warnings: strobe effects, discussions of death, suicide and miscarriage, underage relationships
“Nothing is ever settled until it is settled right” is an infamous old adage that neatly captures the taut atmosphere of this show. Ibsen’s classic drama The Lady from the Sea has been transported from Norway to the bucolic English countryside. At first, everything seems safe but positive for Ellida, a successful novelist who is chafing at the restrictions of being second wife to a country doctor with a thriving private practice at the end of the garden. This changes quickly when a past figure from her past quite literally comes to haunt Ellida and her family.
Henrik Ibsen’s original play has been significantly modernised and strengthened by Simon Stone. The prose still contains the longer monologues and tense dynamics, but is also filled with refreshing references to modern vernacular and more progressive attitudes, reflected best in the teenage daughters. Mostly this works well and turns the story into a comedic but tense drama, yet sometimes it does make the show feel melodramatic in parts. Stone’s adaptation has excelled in significantly fleshing out all of the characters in the story, giving clear past trauma and pain, which makes the motivations and strong emotions of the story much richer in nuance. Their increased agency, such as Asa’s stratospheric rise in academia are welcome addition to the 19th-century original. The modernised version also includes references to environmental protest and underage relationships, which are portrayed with much pathos and precision. We also see much clearer references to mental health and disability, most clearly with Lyle, but also in Hilda as well. The most powerful and significant change in this play is that Ellida chooses her own independent path to healing in this revival instead of staying in a situation that doesn’t make her happy. At its heart, this is a play which explores the impact of trauma, grief and how we carry them in our lives.
The cast are truly phenomenal in bringing these characters to life in beautifully layered connections. Andrew Lincoln was heartfelt and furious as husband Edward, who, in his trauma, fears losing the women in his life and ends up pushing them away. John Macmillan is fantastic as Lyle, the couple’s best friend was a caring uncle, friend, and father figure to all on stage. His steady presence and staunch support were a powerful contrast to he other characters. loc Awyn was beautifully profound and tragic as Heath and his strange relationship with his family, including spirited and vulnerable Isobel Akewidike as Heidi. Brendan Cowell was dangerously charismatic and broken as Finn, and his dynamic with Vikander was both tender and deeply sinister. Alicia Vikander as Ellida was a powerful example of emotional precision, fully showcasing a contrast of deeply vulnerable, sincere and fractured emotions, trying desperately to move forward but unable to face her traumatic past in a healthy way. Gracie Oddie-James as the eldest daughter Asa, was the comedic highlight of this show with unparalleled presence on stage and genius use of witty satire.
The set design by Lizzie Clachan was ingenious. Showcasing a garden table set and recliner on a white base within the first half to subtly demonstrate the bright but not idyllic home life. This is then turned upside down and altered to a pure black set in act 2, representing the chaos and dark emotions Finn’s visit brings. The final elements of the rainstorm and swimming pool are a fabulous addition and framing of the finale, symbolising the internal and external storms the characters face and are forever changed by the aftermath. Nick Schlieper’s use of strobe effects, harsh lighting and absolute darkness are powerful supports to the set.
The show was altogether two hours and fifty five minutes. Although an intense and riveting play, the pace could have been wound much tighter to achieve the same effect with more thunderous energy rather than the gentle drizzle of its current form.
This is an excellent revival of The Lady from the Sea which significantly deepens the characters and has been brilliantly modernised for modern life. The cast are truly excellent and the plot is one to ponder how we react to trauma and how it impacts our future. If you enjoy biting comic drama filled with memorable lines and profound spirit then this is the show for you.
The Lady from the Sea plays at Bridge Theatre until 8 November
★★★★
