Simon Stone’s extensive reworking of Ibsen’s 1888 play relocates the action from the Norwegian fjords to Ullswater in the Lake District. In this idyllic setting, neurologist Edward (Andrew Lincoln) tries, and mostly fails, to be a good father to teenage daughters Asa (Gracie Oddie-James) and Hilda (Isobel Akuwudike). Now remarried to Ellida (Alicia Vikander) after the death by suicide of his first wife, Ed struggles to keep the peace within the family and particularly between his daughters and their stepmother. Ed’s best friend, Lyle (John MacMillan) is a support for the family, although his involvement is not always regarded positively by Ed. Into this scenario comes Heath (Joe Alwyn), a young patient of Ed’s who is awaiting the outcome of tests that will confirm whether his medical condition is terminal. The family’s life carries on in its normal bickering way, until a secret from Ellida’s past as an environmental activist resurfaces and a former lover, Finn (Brendan Cowell) tracks her down after many years in prison. She yearns for the sea of her youth, when her father was a lighthouse keeper, and is wracked with guilt over the oil rig incident that resulted in Finn’s incarceration. With her feelings for him re-igniting, Ellida has to decide whether to stay in her marriage or leave with Finn.
This is a play that explores many issues that remain topical. Navigating the blended family; dealing with love, loss and grief; the inequitable power relationships when partners have a significant age gap. Stone’s direction is sharp, creating a kinetic piece, with constant motion and scenes at times overlapping. The cast are all terrific, totally credible in their roles, which are generally well-defined and rounded, their emotions permanently on show. The teenagers are coping with the loss of their mother, Ed with his first wife’s suicide, and Ellida the loss of a baby. Lyle acts as a sounding board for all of their trauma and is the least fleshed-out character, though MacMillan does what he can with the role. Vikander is excellent as the permanently on-edge Ellida, unable to cope with her life but trying to be the perfect doctor’s wife, all the while her past is bubbling into her present. Lincoln’s Ed is content with his lot until everything unravels. His meltdown when it comes is decidedly over-the-top but remains just within the bounds of believable. The two daughters are perfect representations of rebellious teens, played with sass by Oddie-James and Akuwudike.
Lizzie Clachan’s set design is impressive and surprising. It starts off with minimalist pristine white garden furniture, but after the story turns dark, so does the set. And that’s where it all goes off the rails. Undoubtedly clever and technically breathtaking, the set’s transformation into storm and pool after a while becomes an annoying distraction from the characters and their story. The set is then the main feature and, while the symbolism of water and the sea throughout the narrative is not lost, the saying “less is more” is relevant here.
Stefan Gregory’s soundscape aptly matches the story and the set, with soft music and gentle transitions at first, morphing into thunderclaps accompanied by Nick Schlieper’s strobing and flashing lighting designs as the narrative darkens.
Stone’s production brings a new modern spin to Ibsen’s tale of love, loss and guilt and is definitely worth seeing. The Lady From The Sea is at the Bridge Theatre until 8th November. Tickets are on sale from https://bridgetheatre.co.uk/
Reviewer: Carole Gordon
Reviewed: 18th September 2025
North West End UK Rating: