Theatre history is replete with fierce, volcanic women. Think Medea, Clytemnestra, Lady Macbeth and Phedre. You can add Scandanavian playwright Henrik Ibsen to this list. These are not the kind of women you would invite to a dinner party!
Ibsen wrote Hedda Gabbler in 1890 and it was first performed in 1891. When it was first performed it was savaged by the public and the press. Critics derided the play as ‘a base escape of moral sewage gas’ and held that its title character was ‘full of the foulest passions of humanity.’ Over time, critics came around to the worthiness of the play with even the notoriously critical George Bernard Shaw, in an article ‘The Quintessence of Ibsenism, giving Ibsen his endorsement as one of the great playwrights, rivalling and even surpassing William Shakespeare.
Greek playwright Euripides who is believed to have written close to 100 plays famously wrote, ‘character is destiny’. Hedda is like a ticking time bomb. She is quite the monster; an uncompromising, super inflated egotist who at the same time has a great emptiness emotional and intellectual inside her. It is her being ‘an empty vessel’, this is the main thing that drives her. Hedda is a spiteful woman who is jealous of so many people because she sees that they have found purpose and love in their lives, whilst she is unable or unwilling to connect. This takes her on a path of destruction, destroying others, as she tries to control them, and then in the end destroying herself.
Ella Prince gives a strong performance as the ghastly Hedda. It’s hard to think of a woman more horrid that Lady Macbeth still I put Hedda above her.
James Smithers is good as Hedda’s husband, Jorgen Tesman. Tesman is a typical, conservative, professional man (an academic), similar to Torvald (a bank manager) in Ibsen’s play A DOLL’S HOUSE. He is amazingly patient with Hedda and her dismissiveness however even Jorgen reaches his limit.
Suzann James gives a good performance as Juliana Tesman, Juliana is Jorgen’s auntie, who is like a mother’s figure to Jorgen, and is a constant visitor to the house. The opening scene sees Hedda being petulant and discourteous to Juliana as Juliana tries to offer her, her friendship. Juliana goes over to kiss Hedda on the forehead, and you can just feel Hedda squirm.
Jack Angwin is good as Eilert Lovborg. Eilert wants to be a great writer and has just written what he believes will be his breakthrough work. He has had an affair with Hedda which Hedda broke off when he wanted a commitment. Eilert is also a frequent visitor to a brothel and a particular red haired woman.
Eilert also has Thea Elvsted in his life, a woman who has left her husband and is devoted to him and supportive of his writing career.
Jane Angharad gives, for me, the performance of the night as the sensitive, loving, kind hearted Thea who leaves herself in a very valuable position. This was a poised, accomplished performance by Angharad.
Christopher Tomkinson gives a fine performance as family friend Judge Brack, a well spoken, conservative, man who also is besotted with Hedda. Hedda meets her equal with Judge Brack’s arrogance and single-mindedness.
Christie Mae has a small role as something of a stage hand and also plays a lovely piano composition which is a beautiful addition to the play.
This HEDDA GABBLER has been directed by Anthony Skuse. I am very familiar with Skuse’s work, having seen numerous productions by him over the years. His standsrd is always high, and he maintain these high standards with this production.
I see that Skuse has adapted Ibsen’s original play. I will refrain from commenting on the strength of the adaptation as I have not read the play, so I wouldn’t be able to attest to the changes.
Skuse’s staging works well. There are three entry/exit points. The action takes place in Jorgen and Hedda’s living room. The living room is sparse with piano, a table, a portrait, (not sure who the portrait is of, is it Hedda’s General father or is it a portrait of Ibsen?), and numerous. Either side of the stage, one gilt edged chair stayed empty for cast members to briefly sit during the play, adding to the intimacy of the main, warm, intimate KXT theatre space. Jorgen and Hedda’s bedroom was off stage, through a well conceived sliding door. Just inside this space was the a medium sized cabinet. Inside one of the drawers lay some of her father’s pistols which Hedda would regularly rifle, the guns being her playthings. A charming woman!
Skuse’s main design team comprised set designer James Smithers, excellent lighting design by Travis Kecek, sound design by Christie Mae and good period costume design by Skuse again.
I recommend this show. The only thing is, make sure that you have a few drinks at their bar. You will need them. This really is not a cheery tale!
This production only has a few nights remaining, closing this Saturday night at the KXT theatre, 181 Broadway, Ultimo.
