Setting Sail: Reviewing ‘The Lady from the Sea’

Photo by Johan Persson

Just in time for the stormy change in London’s weather, a rain-soaked take on Henrik Ibsen’s The Lady from the Sea began its run at the Bridge Theatre on the 10^th of September. Alicia Vikander stars as Ellida, with Andrew Lincoln as Doctor Edvard Wangel – a married couple caught in the undertow of their pasts in writer and director Simon Stone’s reimagining of the classic. A true family drama, this production sharpens the domestic tragedy through modernised dialogue and inventive staging.

It is a story both timeless and timely. Ellida’s past catches up with her, revealing the intricacies and lasting impact that youthful relationships can have on a person. The play brilliantly explores power dynamics in past and present relationships - whether between father and daughter, husband and wife, or life-long friends. The audience is sure to find an aspect of themselves, or someone they know, reflected in one or more of the characters. There is a certain depth to each one that is genuinely impressive. Although some are more prominent than others, every character has a storyline and a moment in the spotlight. It is truly an ensemble piece, as each actor feeds off the others. The at-times rapid dialogue reflects the comfort and habitual nature of family life. There is a real intimacy to the play, even in its more haunting moments, which draws the audience ever closer.

Amidst inter-personal turmoil, you will find comedic gems, often delivered by the two daughters – the younger Hilda, played by Isobel Akuwudike, and Gracie Oddie-James as the elder, Asa. Their well-timed delivery adds levity to the atmosphere, with well-written contemporary jokes rippling through the theatre. The play deftly explores modern family dynamics, redefining archaic structures and showing how water can be just as thick as blood. John Macmillan portrayal of Lyle – the Doctor’s best friend and a surrogate father figure to the daughters – is pivotal. His performance beautifully balances his various roles within the family, illustrating how adaptive communication is essential to health relationships. Similarly, Joe Alwyn’s Heath, a distant relative of the family, embodies the idea that new connections can be as valuable as old ones when we allow ourselves to embrace them. Through him, the play explores a kind of brotherhood born from tragedy, prompting reflection on death and the people we would wish to hold our hand in our final moments.

It is at once comedic, exciting, sombre and reverent. The leads convey this emotional range with great skill. Alicia Vikander masters the art of subtle facial comedy, while her reactions in more intense moments tug powerfully at the audience’s heartstrings. Andrew Lincoln matches her with emotional depth, his grand gestures and nervous energy both poignancy and humour. As the play progresses, both characters’ facades gradually fall away, stirred by lovers from the past – one dead and one alive. The latter, Finn Marcet, portrayed by Brendan Cowell, serves as an effective antithesis to the marriage in question, provoking breakdowns that reveal the intricacies of human nature. Vikander and Lincoln’s impassioned performances meet each other beautifully in the middle – just as every married couple should.

The staging itself is an equally compelling marriage of simplicity and spectacle. The set, representing the domestic heart of this family drama, gradually morphs into a church. Between scenes, as the theatre falls into darkness, loud clangs echo through the space – reminiscent of eerie church bells – instilling an unconscious sense of impending doom with the audience. When the lights return, we are once again in the simple living space, complete with a sun lounger and dining table. Regardless of the sparse set, this is such an exciting staging because of designer Lizzie Clachan’s innovative approach to creating multiple believable settings – both physical and emotional – within a single square stage. With considered blocking, the result is a visual safari, each new moment revealing something unexpected. And then there is the element of water. In a nod to the title’s essence, the creative team ingeniously conjures both rain and pool on the small stage. The presence of water marks key emotional shifts, acting as an enthralling visual device and a vital part of the storytelling.

Even when things go wrong, they go right. A standout moment of the evening came when some food was accidentally dropped from a tray on stage. The actors handled the mishap with ease, showcasing their deep understanding of the characters and play’s tone as they deftly re-plated the food. What might have been a jarring interruption instead left the gleeful audience - a shared recognition of the magic of live performance.

Simon Stone does a truly wonderful job at modernising Ibsen’s work, making it feel absolutely singular while preserving its essence. The cast arrive well-prepared and armed with empathy, ready to spark both joy and bewilderment. The Bridge Theatre transforms into a stormy sea as the actors invite the audience to embark with them on a treacherous crossing - one well worth taking. The Lady from the Sea will leave you admiring the power of live theatre long after you have left the Bridge.

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Edited by Daria Slikker, Deputy Editor-in-Chief