Peter Gynt is searching for something: himself. Traveling from the mountains of Scotland to the pool-sides of Florida, he’ll meet talking hyenas, two-headed trolls and even an Egyptian Sphinx. But his ultimate transformation may not be all that he hoped for…
Playing the rebellious antihero, James McArdle (Angels In America) is reunited with David Hare and Jonathan Kent, the partnership behind the triumphant Young Chekhov at Chichester Festival Theatre and the National Theatre.
This outrageous modern myth is designed by the Tony award-winning Richard Hudson (The Lion King), with an original score from Paul Englishby (BBC's Luther and Dr Foster) and movement direction from Polly Bennett (Bohemian Rhapsody).
Hare updates Ibsen’s 1867 dramatic poem with wit and ingenuity, resulting in a sharp satire on contemporary mores
Meandering update of Ibsen's sprawling fantasy
James McArdle is the saving grace in a clunky and repetitious satirical update of Ibsen
Fantastical drama that meanders back and forth
The jokes keep coming, but McArdle finds his way to the truth of the play. It is an astonishingly good performance
Some good jokes and a brilliant turn from James McArdle can’t patch up David Hare’s exhausting Ibsen update
This is a missed opportunity to bring Peer Gynt into the 21st century
An interminable, toe-curling bore
McArdle holds it together - never has a play's title been more earned
This entirely watchable production both surprises and illuminates a play that I've previously thought was impossible to actually enjoy
It’s baffling how anyone could be bored during the three-hour playing time when McArdle holds the stage for its duration
James McArdle is dazzling in this laugh-out-loud, feel-bad production of Henrik Ibsen’s 1867 play
Despite McArdle’s brilliance, it feels like a long slog