“When you spend your life in thrall to a monster you find yourself trying to make monstrous
things somehow bearable.”
Helena is a woman on a mission. Since the death of her high-flying husband, she has dedicated herself to reclaiming his legacy. And her hard work is about to pay off, with a new children’s hospital bearing his name on the brink of opening.
But when their son Oz returns to the family home for the grand unveiling, he has ambitions
of his own. Ambitions that threaten to unravel their family’s most tightly kept secrets.
Gary Owen’s new play, a contemporary reimagining of Ibsen’s classic, is directed by Artistic
Director Rachel O’Riordan, reuniting the team behind the critically acclaimed Iphigenia in
Splott, Romeo and Julie and Killology.
Owen revises Ibsen with tact. He doesn’t merely translate the text for a modern audience by making cuts and altering the language: this is a whole new play. He maintains all the original beats, but adds a layer of modern investment to the story, transposing it in a way that makes complete sense in the here and now. The working-class struggle coexists on the same level as wealthy Gen Z ennui and the lack of prospects for new generations. But that’s not the point of this. Oz’s rich-people problems pale in the shadow of the Captain’s deeds. Yet, Owen refrains from introducing his characters as bare vehicles of immorality who come down their ivory tower to deliver a message to the masses. They’re complex creatures who suffer the consequences of the world they live in. The show is tender and raw; domestic abuse becomes a gilded cage.
The production reunites Owen with director Rachel O’Riordan after their harrowing 2022 Iphigenia in Splott, and a similarly queasy sense of gnawing discomfort permeates this piece. Here, themes of generational trauma and the experiences of abuse survivors come to the fore. Owen’s revised, contemporary-language dialogue feels on-the-nose at times. Yet there is an appealing thread of pitch-black humour running through the text. As the story unfolds, Owen constantly shifts blame and judgement, and highlights potentially exonerating contextual details between the characters. Each horrible new revelation is quickly refuted by a sharp counter argument, as Owen unflinchingly examines all sides of every contentious topic.
| 1894 | Broadway |
Broadway |
| 1903 | Broadway |
Broadway |
| 1912 | Broadway |
Broadway |
| 1915 | Broadway |
Broadway |
| 1916 | Broadway |
Broadway |
| 1919 | Broadway |
Broadway |
| 1923 | Broadway |
Broadway |
| 1926 | Broadway |
Broadway |
| 1927 | Broadway |
Broadway |
| 1933 | Broadway |
Broadway |
| 1935 | Broadway |
Broadway |
| 1937 | Broadway |
Broadway |
| 1948 | Broadway |
Broadway |
| 1973 | Off-Broadway |
Off-Broadway |
| 1975 | Off-Broadway |
Off-Broadway |
| 1982 | Broadway |
Broadway |
| 1988 | Off-Broadway |
Off-Broadway |
| 2002 | Off-Broadway |
Off-Broadway |
| 2010 | West End |
London Production West End |
| 2013 | West End |
West End Revival West End |
| 2015 | Off-Broadway |
Brooklyn Academy of Music Off-Broadway Production Off-Broadway |
| 2025 | Off-Broadway |
Lincoln Center Theater Off-Broadway |
| 2025 | West End |
West End |
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