Tveit’s vision of a different and revitalized approach to Ibsen produced from the very start a highly original style contrasting sharply with British theatre’s reluctance to divorce Ibsen from the realistic traditions of the 1950s. His visual approach, deeply rooted in the material itself, rejects any historical or socio-political reading of Ibsen’s plays. In exploring theatrical tools beyond the framework of traditional realism, his productions have consequently created both criticism and controversy amongst the London critics. Working from the text, the actor’s speech and movement tends towards the spare and clear. Tied to visual frames of cemented choreography, a detailed mise-en-scène and the text's built in music and rhythm, his productions bring the universal drama to the fore.