Review: THE LADY FROM THE SEA, Donmar Warehouse

The Lady from the Sea, one of Norwegian playwright Henrik Ibsen's later plays, has surfaced onto the Donmar stage in an adaptation by Elinor Cook and directed by soon-to-be Young Vic Artistic Director Kwame Kwei-Armah.

The eponymous Lady is Ellida, daughter of a lighthouse-keeper, second wife to dependable but unexciting Dr. Wangel, and step-mother to his daughters Bolette and Hilde. Ellida is tormented both by the loss of their infant son and by the memory of a sailor she met in her teens, and made a pact with to marry when he returned.

Now, twenty years later, she's about to have an encounter that will force her to choose which type of freedom she most desires: her physical freedom to return to the sea, or her psychological freedom from emotional turmoil.

Cook has transplanted the tale from Ibsen's native Norway in the 1880s to the Caribbean in the 1950s. It's a switch that works well, allowing the key theme of female self-determination to still feel contemporary whilst adding some oppressive tropical humidity to the atmosphere.

Nikki Amuka-Bird proves to be a magnetic Ellida, clearly troubled and carrying deep emotional scars, but also determined to reach her own resolution. Finbar Lynch's Dr Wangel is the flip-side to her character, even-tempered almost to a fault, until he realises what's at stake.

There are two delightful supporting performances from Ellie Bamber and Helena Wilson as the two sisters. Bamber's Hilde is all sarky, snarky and full of attitude. Wilson as her older sister Bolette, trapped by circumstance and in need of an escape route like her step-mother, is demure, intelligent and questioning.

Tom McKay as returning war veteran Arnholm strikes an appropriate balance between romantic and intellectual affection towards Bolette. Jonny Holden's artist Lyngstrand is suitably pretentious and self-absorbed.

This is a classily put-together production, with set, lighting and directorial choices all working in unison. Tom Scutt's largely static set is striking, allowing the sea to always be present on stage to reflect Ellida's unceasing yearning. Gradual and subtle lighting changes by Lee Curran add a chill as tensions increase, then flip back to more tropical hues.

Kwame Kwei-Armah's direction has an exceptionally light touch. Nothing feels forced but the pace is maintained, and the almost laid-back tone of many of the scenes allows the tenser moments to be heightened by the contrast. In the moments when Ellida connects most with her past, her standard pronunciation drops and the Caribbean accent of her childhood momentarily surfaces, before vanishing as she pulls herself back to her present.

The Lady from the Sea is atmospheric, evocative and addresses some questions that are still relevant in modern-day relationships. As such, it's well worth 100 minutes of your time.

The Lady from the Sea at the Donmar Warehouse until 2 December

Photo credit: Manuel Harlan

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