Robert Icke - The Wild Duck

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Book:
The Wild Duck
Author:
Robert Icke / Henrik Ibsen
Publisher:
Bloomsbury Publishing
Genre:
Books / Detective and thriller
Year:
2018
Rating:
3 / 5
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The Wild Duck: summary, description and annotation

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A new version of The Wild Duck, Ibsens masterpiece about the nature of truth, in which a stranger intervenes to reveal the lies in the past of a family, with tragic consequences. In Ickes version the scenery and costumes grow gradually more naturalistic as the play progresses, and the characters break off from their lines to comment on the action and on Ibsens life.
A re-assessing of The Wild Duck:
verb. to duck
1. a quick lowering of the head (to avoid a blow or so as not to be seen) 2. depart quickly 3. avoid
noun. wild duck (more commonly known as mallard duck or anas platyrhynchos) an undomesticated duck.
note. Due to its beautiful feathers, the mallard duck is one of the most popular ducks for hunters. When injured or threatened, ducks have been alleged to commit suicide, by diving to the bottom of the water, never returning to the surface.
This version of The Wild Duck was produced at The Almeida Theatre, London, and a review in The Stage remarked: Icke has a way of pinking the cheeks of canonical plays and making them breathe

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First published in 2018 by Oberon Books Ltd 521 Caledonian Road London N7 9RH - photo 1

First published in 2018 by Oberon Books Ltd

521 Caledonian Road, London N7 9RH

Tel: +44 (0) 20 7607 3637 / Fax: +44 (0) 20 7607 3629

e-mail:

www.oberonbooks.com

Robert Icke is hereby identified as author of this play in accordance with section 77 of the Copyright, Designs and Patents Act 1988. The author has asserted his moral rights.

All rights whatsoever in this play are strictly reserved and application for performance etc. should be made before commencement of rehearsal to Casarotto Ramsay & Associates Ltd, Waverley House, 712 Noel St, Soho, London W1F 8GQ. No performance may be given unless a licence has been obtained, and no alterations may be made in the title or the text of the play without the authors prior written consent.

You may not copy, store, distribute, transmit, reproduce or otherwise make available this publication (or any part of it) in any form, or binding or by any means (print, electronic, digital, optical, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages.

A catalogue record for this book is available from the British Library.

PB ISBN: 9781786826589

E ISBN: 9781786826572

Cover design by James Illman

Printed and bound by 4EDGE Limited, Hockley, Essex, UK.

eBook conversion by CPI Group (UK) Ltd, Croydon, CR0 4YY.

Visit www.oberonbooks.com to read more about all our books and to buy them. You will also find features, author interviews and news of any author events, and you can sign up for e-newsletters so that youre always first to hear about our new releases.

Printed on FSC accredited paper

I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.

Peter Brook, The Empty Space

Each partner strives to find in the other, or induces the other to become, the very embodiment of the other whose co-operation is required as a complement of the particular identity he feels compelled to sustain.

R.D. Laing, The Self and Others

Acknowledgements

My greatest debt is to the actors and creative team of the original production, whose ideas, instincts and input quite literally make the show, and to all of whom I am genuinely grateful.

This sort of work would scarcely be possible without the support and backing of its originating theatre on multiple levels, Im thankful to my whole team at the Almeida, who, five years in, are really my Almeida family and on this one, as on so many before, I owe big thanks to Rupert Goold, Lucy Pattison, Denise Wood, Emma Pritchard, Rebecca Frecknall and Stephanie Bain.

And on top of that, thanks to everyone else who read the play or watched a performance and gave suggestions or support significantly: Rachel Taylor, Helena Clark, Stephen Grosz, David Hare, Helen Lewis, Josh Higgott, Jon Sedmak, Laura Marling, Andrew Scott, Ben Naylor, Ilinca Radulian, Denzel Wesley-Sanderson and Zara Tempest-Walters.

RI, October 2018

This adaptation was commissed by and originally produced at the Almeida, where it had its first performance on 15th October, 2018.

Cast (in alphabetical order)
Charles Woods	Nicholas Day
Hedwig Ekdal	Grace Doherty
Francis Ekdal	Nicholas Farrell
Anna Sowerby	Andrea Hall
Gregory Woods	Kevin Harvey
James Ekdal	Edward Hogg
Gina Ekdal	Lyndsey Marshal
Hedwig Ekdal	Clara Read
John Relling	Rick Warden

Creative Team
Direction	Robert Icke
Design	Bunny Christie
Light	Elliot Griggs
Sound	Tom Gibbons
Casting	Julia Horan CDG
Costume Supervision	Claire Wardroper
Fight Direction	Kevin McCurdy
Assistant Direction	Denzel Westley-Sanderson
Design Assistant	Verity Sadler
Photography	Manuel Harlan
Company Stage Manager	Claire Sibley
Deputy Stage Manager	Adam Cox
Assistant Stage Manager	Beth Cotton

Contents

Characters

GREGORY WOODS

CHARLES WOODS , father of GREGORY

GINA EKDAL

HEDWIG EKDAL , her daughter, nearly 13

JAMES EKDAL , husband of GINA

FRANCIS EKDAL , father of JAMES

ANNA SOWERBY

JOHN RELLING

A note on the text

A forward slash ( / ) marks the point of interruption of overlapping dialogue.

A comma on a separate line ( , ) indicates a pause, a rest, a silence, an upbeat or a lift. Length and intensity are context dependent.

Square brackets [like this] indicates words which are part of the intention of the line but which are not spoken aloud. They are also used to indicate information that will need to be update to reflect the time of the present performance.

This text went to press before the production opened and so may differ slightly from what was performed. But lets not worry too much about that.

[ACT ONE]

Bare stage. Emptiness.

As the evening progresses, the stage will move, piece by piece, towards a kind of naturalism a subtle and unobtrusive progression towards the final image of the Ekdals home. Think of it like a photograph developing. The actors start in what feel like rehearsal clothes, and move slowly item by item into costume.

The lights are bright. As the evening progresses they will get darker and darker.

The actor playing GREGORY comes out and waits for the audience to fall silent. When they do, he switches on a handheld microphone (or just speaks to them directly if you prefer: the aim is the difference between this mode of speech and normal dialogue). When characters are speaking into a mic, their name is followed by (m) and they are speaking to the audience. Ideally, the microphones seem objective, like the truth. To start with at least.

GREGORY (m) The devices this is just a reminder [to turn them off]. Even if you think youve already done it, that feeling certain that feeling could be wrong. We dont need intrusions; the world can wait for a few hours. Anyway, its all lies.

The play has started.

Hello.

In 1884, Henrik Ibsen wrote The Wild Duck. People say they want to see the real version, true to Ibsen, but that version is in Norwegian actually, a sort of out-dated Danish-Norwegian, so even if we could do it, you very likely wouldnt understand it. We would say words you couldnt understand and ones we cant mean. And saying things you dont mean well, theres a word for that, and its lying. I mean, to tell the story like that would be a sort of lie. Going through the motions. The real thing buried somewhere underneath.

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