Review: The Lady From The Sea (Bridge Theatre)

Review by Daz Gale

⭐️⭐️

Major adaptations of works by Henrik Ibsen come in waves. Following a new take on My Master Builder earlier this year, it is now the turn of The Lady From the Sea to make a comeback in a brand new production at the Bridge Theatre. The original writer isn’t the only thing these two plays share, with one of the characters appearing in both. Where that other show split opinion and opened to rather middling reviews, would this fare any better? The question is would I be swept away by this production, or would it leave me with a sinking feeling?

The Lady From The Sea is described as Ibsen’s most radically modern portrayal of a woman’s fight for autonomy in her relationship. This production modernises the tale, centering on married couple Edward and Ellida. When Ellida begins to feel haunted by a stranger from her past, his presence awakens something in her, making her realise some truths even if that spells the end of her marriage. Meanwhile, Edward’s daughters from his first marriage are both experiencing steps into adulthood as they attempt to free themselves from their protective father, and a visit from a distant family member may result in a case of life and death.

Written and directed by Simon Stone, this modern take on Ibsen’s classic results in some questionable and even confused choices. References to Beyonce. Just Stop Oil and even Brooklyn Beckham make for some painful shoehorned in references. It gives a sense of attempting to contemporarise a show with nothing more than pop culture and up to date technological references, never stopping to consider how these might be inserted in a way to further the story. Consequently, these additions add nothing to the play and actually detract from the piece substantially. Nothing is natural about the way the characters talk to each other, with even references to how they are going to stay in contact following the events feeling very clumsy and almost as if the writer had never heard these words used in an authentic conversation before. A sudden and utterly ridiculous quote from the movie ‘Four Weddings and a Funeral’ simultaneously made me cringe and hold my head in my hands in a particularly jarring moment that may have been the lowest point of this tonally confused piece.

The writing is what stops The Lady From the Sea from floating, with a complete lack of subtlety and any sense of nuance in place of a brash and rather distasteful adaptation of Ibsen’s work. An excessive use of four letter words replaces the need for any other language in the play, at one point feeling like a songwriter using “La la la” in place of lyrics as they work on the first draft. Only, replace “La la la” with a few Fs and Cs and you get the idea, in a production that very much feels like it is still on the first draft. Another problem with the writing is the constant need for everyone to shout, even if it doesn’t add anything to the story and feels jarring instead, which it often does. I got the sense that instead of writing stronger, Stone opted to write louder, and the result is a play I found increasingly hard to watch.

Stone’s direction doesn’t fare much better, feeling extremely directionless at times. Though an incredible cast has been gathered, their talents are squandered at the expense of some poor and problematic choices, removing any sense of chemistry between any of them and resulting in rather wooden deliveries. Pacing also is a problem with the play, plodding along far too sluggishly in act One. Act Two picks up the pace somewhat, but is plagued with far too many moments that fail to land. Though it is admittedly more interesting thanks to its clever design tricks, the impressive nature of these only goes to exacerbate the flaws in both the writing and direction.

Lizzie Clachan’s set design proves intriguing and surprising with its initially sparse, white setting transforming completely during the interval. The increasingly empty stage soon reveals itself to have several impressive tricks that dominate the show’s second Act in what is undoubtedly the strongest element of the play. As decent as this trickery is, it can’t make up for the inadequacies seen elsewhere, though it allows for Stone to attempt something more interesting with his direction. This proves rather hit and miss, with what can only be described as the coldest sex scene I have seen on stage. Very strangely staged and uncomfortable to watch, it lacked passion and outstayed its welcome in an extremely oddly directed sequence that felt more awkward than anything else. In this scene, the characters may have still gotten wet but for a very different reason.

There are some decent lighting effects from Stefan Gregory, particularly in the second Act, transforming the action into more of a horror, though the tone of the show never quite matches this thrilling effects. Similarly, Mel Page’s sound design proves for an atmospheric setting, ramping up the tension and at times distracting from the issues elsewhere.

Though the cast are clearly all outstanding in their own right, it proves increasingly difficult for them to keep their heads above water, thanks to the hand they have been dealt in both the writing and direction. Alicia Vikander and Andrew Lincoln have moments where they showcase why they are both such highly regarded actors, though the understated approach to Vikander’s Ellida, and an increasingly erratic yet wildly inconsistent characterisation for Lincoln’s Edward mean their strengths are never fully utilised. Elsewhere, Joe Alwyn delivers a perplexing turn as Heath, never quite feeling human in a frustratingly wooden performance. Given the extremities his character is going through, the inability to connect with this or bring any realistic emotion leaves for a stilted portrayal that doesn’t bring any heart or charisma with it, as disappointing as that was.

Two performers manage to break the mould and stand out despite the confusing writing that litters all of these characters, and they are Isobel Akuwudike and Gracie Oddie-James as Hilda and Asa respectively. Both bring a refreshing nature to their roles, managing to land the comedic moments, which I appreciated in a break from the monotony seen elsewhere. Whenever either are on stage, The Lady From The Sea is decidedly better, and when they are there together, it is the closest the play comes to being electric, Though the fact these secondary characters prove more captivating than the leads should be a concern in itself, again out of no disrespect to the accomplished actors playing them.

As a play, The Lady From The Sea is a confusing and ultimately frustrating piece. Stone’s choices may have made sense to him, but to me, I was at a complete loss as to why this story was told in this particular way. Subpar writing and often aimless direction put some huge stumbling blocks in the way and, despite the best efforts from the talented cast, these were impossible to overcome. I left the theatre not quite knowing what I watched and feeling oddly cold over the whole thing. Given the standing ovation it received from an overwhelming majority of the audience, I may well be in the minority with this opinion, but sadly for me, The Lady From The Sea was a bit of a shipwreck.

The Lady From The Sea plays at bridge Theatre until 8th November. Tickets from https://allthatdazzles.londontheatredirect.com/play/the-lady-from-the-sea-tickets

Photos by Johan Persson