Tag Archives: Henrik Ibsen

HEDDA GABLER

Hedda Gabler

★★★

The Maltings Theatre

 HEDDA GABLER

Hedda Gabler

The Maltings Theatre

Reviewed – 16th November 2021

★★★

 

“The direction of the ensemble is excellent with characters naturally filling and moving in the space”

 

OVO presents Ibsen’s classic tragedy from 1890 in a version by Richard Eyre.

The onstage action throughout all four acts takes place in the same set – the living room of Tesman’s house (Set Design by Simon Nicholas). Minimal furniture – a table, chairs, chaise longue, all rather unassuming, is enough to set the scene and the period. A backlit gauze at the rear of the stage allows us to see into the back room of the house and provides the opportunity for some effective and dramatic projection, not overdone. (Lighting Design by Matt Dugee). With the audience sitting closely on three sides, we are brought as witnesses into the heart of the domestic drama.

Before the start of Act One, we get a first glimpse of Hedda as she rises from bed and looks around her new home. It is clear she disdains all she sees except for a white piano which is at odds with the remainder of the dark furniture. A soundtrack of piano music here and in preludes between the Acts (Composer David Podd) foreshadows what is to come. A similar entr’acte at the start of Act Three is enacted by Thea – a near balletic scene, again showing prophetic movements.

The direction (Director Janet Podd) of the ensemble is excellent with characters naturally filling and moving in the space, never looking harried or hurried. All characters have their strengths and the fluency and pacing of the production will improve with further performances.

Hedda’s husband of six months, George Tesman (Lyle Fulton) with a near-permanent inane grin fumbles and bumbles about and is closer to buffoon than university professor. His nemesis Eijert Løborg (Diljohn Singh) is played in a gentle sweet manner. His final words to Hedda as he uses her maiden name of Gabler rather than Tesman is a rare moment of poignancy. Judge Brack (Marc Ozall), his hair black and brilliantined, is stiff and imperious, a dangerous sort to play with. I would have liked to see his deviousness more overtly from the start, but Hedda must be bored in her marriage indeed if she is willing to entertain notions of “forming a triangle” with this tedious man. Thea Elvsted (Jane Withers) is broken and bowed, close to tears and, with one exception, movingly sotto voce throughout.

The production revolves, as it should, around the moods of Hedda, and Faith Turner is superb: disdainful, condescending, enigmatic and cruel. Hedda wants to play all the men she meets and yet she says she cannot condone infidelity. Neither, it seems, can she abide her husband’s touch. The disastrous touchpaper is lit as soon as Hedda admits, “For once, I want to control a man’s fate.”

Janet Podd writes in her programme note that Hedda has been brought up by her father in boyish ways, learning to ride and shoot, and to be in control of her own destiny. As a woman she is deprived of this until the final moment when she opts to take it back. At the end of Act One, when Ibsen allows his main character to play with a pair of pistols, it is a fair sign that things are not going to end well.

 

 

Reviewed by Phillip Money

Photography by Pavel Gonevski

 


Hedda Gabler

The Maltings Theatre until 27th November

 

Also reviewed this year at this venue:

VINEGAR TOM

Vinegar Tom | ★★★ | October 2021

 

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Rosmersholm
★★★★

Duke of York’s Theatre

Rosmersholm

Rosmersholm

Duke of York’s Theatre

Reviewed – 28th May 2019

★★★★

 

“Terera has a magnificent presence between the glib walls of Rosmersholm”

 

This timely revival of one of Ibsen’s least performed plays is an astonishing study of moral guilt, political struggle and the omnipresence of the past. Reminiscent of his earlier work ‘Ghosts’, this shows Ibsen at his dark and daring best. Duncan Macmillan’s adaptation of Karin and Anne Bamborough’s literal translation delivers Ibsen into the twenty-first century, creating a witty, if not a little wordy, drama for our times.

Weighed down by the memory of his dead wife, John Rosmer (Tom Burke) shares his vast estate with a “liberated woman” in the form of Rececca West (Hayley Atwell), his former wife’s former friend. Rosmer’s brother-in-law Andreas Kroll (a superbly on-form Giles Terera) has political aspirations, but his call for support is radically rebuffed as Rosmer turns his attention to the progressive politics of Peter Mortensgaard (Jake Fairbrother). Invoking concepts such as representational democracy and ‘the will of the people’, MacMillan makes sure this play speaks to the current climate, and some knowing chuckles from the audience suggested this relevance did not go unnoticed. Kroll is a fascinating figure, charmingly aristocratic yet stubbornly conservative, and Terera has a magnificent presence between the glib walls of Rosmersholm.

At the heart of the drama though is Rosmer and West’s relationship: can they break free of the past and learn to love each other? Rae Smith’s stunningly decrepit design makes it seem unavoidable. Portraits of the Rosmer family cover every wall, a constant reminder to John of his family’s legacy. Neil Austin’s lighting is similarly evocative, with striking shafts of light breaking through the dusty windows to expose the age and dereliction of this once great home.

Ian Rickson’s production will please West End crowds looking for a timely reminder that politics runs in circle. Rosmer and West struggle to forget the past – are we too quick to? Although I’m no fan of weighty naturalism, with a gorgeous set and memorable performances, this production has plenty to offer.

 

Reviewed by Joseph Prestwich

Photography by Johan Persson

 


Rosmersholm

Duke of York’s Theatre until 20th July

 

Previously covered by this reviewer:
Donal The Numb | ★★★★ | The Vaults | March 2019
Queer Trilogy | ★★★ | Drayton Arms | March 2019
Awkward Conversations With Animals … | ★★★★ | King’s Head Theatre | April 2019
Swimming | ★★★★ | White Bear Theatre | April 2019
The Wasp | ★★★★ | The Space | April 2019
Twelfth Night | ★★★ | Rose Playhouse | April 2019
Harper Regan | ★★★★ | Tabard Theatre | May 2019
Scripts for Supper: The Wind in the Willows | ★★★★★ | Stepney City Farm | May 2019
Why The Child Is Cooking In The Polenta | ★★ | Gate Theatre | May 2019

 

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