Tag Archives: Michael Grandage

MY MASTER BUILDER

★★★

Wyndham’s Theatre

MY MASTER BUILDER

Wyndham’s Theatre

★★★

“Director Michael Grandage moves the action swiftly along, although there are no real obstacles in the script that is fast flowing and fresh”

Lila Raicek’s “My Master Builder” is not a translation of Ibsen’s ‘The Master Builder’. Nor is it an adaptation. But it is in no way a new play either even though it has its own, very contemporary feel to it. It’s a play about the dynamics of power, and Raicek successfully brings the female characters out of the shadows that Ibsen originally cast them in. Elena, the wife (an assured and seductively fiery Kate Fleetwood), is very much the co-star alongside architect Ewan McGregor’s starry status as the architect Henry. All the characters are on an equal footing in the story of a fractured marriage. A couple that, on the surface, have it all – but beneath the glossy surface grief at the loss of their son appears to be the only foundation holding them together. Played out in real time, it is July 4th, in the present day. Henry is unveiling his latest architectural triumph while his wife is getting the party in full swing. The arrival of former student Mathilde (Elizabeth Debicki) triggers memories, stirs up past desires and sets the wheels of tragedy in motion. By interval the blue touch paper is well and truly lit. The second act will provide the fireworks.

Henry – the successful and eminent architect – is the architect of his own fate, and of those around him. But this interpretation shifts the weight onto the women. Feminine power is the keynote, yet it strikes a little out of tune here, not quite finding its pitch. The vitriol that Fleetwood invests in Elena’s anger lacks justification. We would be on her side more if we could see the grief more than the righteousness. In fact, with all the characters, there is a sense of it being ‘all about me’, and it is hard to warm to these selfish personalities. The exceptions are David Ajala, as Henry’s protégé Ragnar and Mirren Mack’s Kaia. The couple share a humility that the others should definitely take note of.

Director Michael Grandage moves the action swiftly along, although there are no real obstacles in the script that is fast flowing and fresh. The central theme of the older man’s infatuation with a younger woman is not so fresh, however, and the handling is clumsy. Debicki’s Mathilde is a striking figure, but we are in constant confusion as to where her loyalties lie. We share Henry’s sentiment when he repeatedly declares her to be too beautiful to be real, but McGregor’s words are just as unreal. We just cannot believe most of what he says. Whilst the acting can’t be faulted, the mood swings and the shifts from realism to histrionics hinder the delivery.

Richard Kent’s set evokes the modernism of Henry’s visionary architecture, peeling it back to reveal the watery backdrop of the Hamptons in New York. The shoehorned references to Henry’s vertigo are vivid signposts to the tragic finale, even to those unfamiliar with the Ibsen original. Raicek’s play stands alone, though, so no familiarity is needed. Apparently semi-autobiographical, it is easy to follow, with just enough twists to satisfy. Set within the confines of a party there are nods to Thomas Vinterberg’s ‘Festen’, or Moira Buffini’s ‘Dinner’, but without much of the darkness and the suspense. Things fall apart too quickly, and the manipulations of the subplots are lost in the cascade. More could be made of Elena’s threat of making or breaking Mathilde’s debut novel, depending on whether she becomes an ally or remains a rival for her husband’s love. The punch of Raicek’s narrative is too often softened by platitudes. ‘Men do so little to be worshipped’ complains Elena, ‘while women have to do so much just to succeed’.

There is much talk of the master bedroom, and the master guest room in which past, present and potential lovers can retreat; but the play falls short of being a masterpiece. “My Master Builder” does have the power, though, to keep us gripped. What stands out more is its portrayal of the sense of loss. These are characters that have achieved much and gained more than they could want, but the losses – of love and of life – topple the lives they have built for themselves. We just wish we could care more, and sympathise with the sense of self-destruction built into them, but the piece needs a stronger foundation to truly hold it together.



MY MASTER BUILDER

Wyndham’s Theatre

Reviewed on 30th April 2025

by Jonathan Evans

Photography by Johan Persson

 


 

Previously reviewed at this venue:

NEXT TO NORMAL | ★★★★★ | June 2024
KING LEAR | ★★★★ | October 2023
OKLAHOMA! | ★★★★ | February 2023
LIFE OF PI | ★★★★★ | November 2021

 

 

MY MASTER BUILDER

MY MASTER BUILDER

MY MASTER BUILDER

Backstairs Billy

Backstairs Billy

★★★★

Duke of York’s Theatre

BACKSTAIRS BILLY at the Duke of York’s Theatre

★★★★

Backstairs Billy

“Evans’ performance is majestic in itself – flamboyant, teasing and mischievous, yet complicated”

William Tallon started writing letters to the Royal Household, asking for work, when he was aged ten. His dream was achieved five years later, in 1951, when he was invited to Easter Court at Windsor, then Buckingham Palace. After the death of King George VI, he followed Queen Elizabeth the Queen Mother to Clarence House, where he remained until her death in 2002. During his time, he earned the nickname “Backstairs Billy”, having risen to the position of ‘Page of the Backstairs’. His service and devotion have seeped into popular culture, spawning a Channel 4 documentary two years after his own death, and now Marcelo Dos Santos’ new play in the West End.

Set at the end of the 1970s, Michael Grandage’s production comes dressed as a gentle comedy – almost a farce – but has an extra-strong kick to it beneath the surface. Much like the cocktails Billy serves to The Queen Mother’s guests; all sweet cordial yet with a hidden punch that takes you by surprise. We meet Billy (Luke Evans) presiding over the Household staff, like a virtuoso conductor, as they prepare for one of Ma’am’s receptions in the Garden Room of Clarence House. Immediately we latch on to his irrepressible and subversive irreverence, matched by his unfailing loyalty. We can see why he has earned his privileges, and the special place he holds in the Queen Mother’s heart. Evans’ performance is majestic in itself – flamboyant, teasing and mischievous, yet complicated. Much comedy is drawn from his relationship with other members of the staff, particularly the rivalry with Mr Kerr (Ian Drysdale) the officious killjoy bent on driving Billy out.

“a gorgeously entertaining and traditional piece of theatre”

The Queen Mother was traditionally (allegedly) quarter of an hour late for her ‘at-homes’. It is the same amount of time before Penelope Wilton’s queenly entrance. Immediately in command, Wilton has grasped the hidden essence of the Queen Mother’s character and philosophy. It has often been said that when people met her, she did her best to make them go away feeling better. There is a glint in Wilton’s eye and an infectious smile that matches Evans’ naughtiness. The dynamic between Wilton and Evans is a true delight to watch. Yes, they may be an odd couple, and the Royal etiquette may be stretched a bit, but it is a totally believable friendship that works well on stage. Dos Santos’ script is packed full of one liners that poke fun at all levels of society. A strong supporting cast play various guests, whose comedic flare reminds us of the colourful and eccentric characters who populated Fawlty Towers.

The second act wanders into all out farce. Billy was (allegedly – again) known for bringing his gay lovers back to Clarence House after dark. In the play, one such ‘pick up’ was black artist (Eloka Ivo) who leaves behind his latest sculpture, a large black phallus, which inevitably rears its head the following day. Ivo displays a comic genius as he is mistakenly passed off as a Prince of Lesotho when he returns to collect his ‘artwork’. We are now in Joe Orton territory, but we are keen to be steered back to the central couple. When we are, it is in the aftermath of this scandal that threatens Billy’s position. A slightly jarring moment during which the Queen Mother tests Billy’s loyalty almost sadistically.

But overall, it is a gorgeously entertaining and traditional piece of theatre. Admittedly some serious issues are glossed over. The ‘Winter of Discontent’ that is blowing outside beyond the comfortable confines of Clarence House is cursorily commented on. Yet the subject of class divide is sensitively touched upon between the comedic lines. There are flashback scenes to the recently widowed Queen Mother during which Ilan Galkoff touchingly portrays a fifteen-year-old Billy at the start of his journey, while Wilton draws every ounce of empathy with her depiction of a woman learning to laugh once again. Backstairs Billy was a breath of fresh air to the former Queen consort. “Backstairs Billy” is a breath of fresh air in the West End.


BACKSTAIRS BILLY at the Duke of York’s Theatre

Reviewed on 8th November 2023

by Jonathan Evans

Photography by Johan Persson

 


 

 

 

Previously reviewed at this venue:

Much Ado About Nothing | ★★★★ | February 2023

Backstairs Billy

Backstairs Billy

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