Review: HEDDA GABLER with a modern twist

Norwegian playwright Henrik Ibsenrespected 1891 play, Hedda Gabler, it is a monumental work in many ways. At about two hours long (and with lots of shots), it’s a typical 19th century melodrama. But instead of a tragically ambitious king, at its center is a woman who cannot fully escape the confines of her society. (Sometimes called the “female version” Hamlet».) Prominent local director, playwright and teacher. Anthony Skewes is directing and adapting an entirely new, condensed version (at an ideal running time of approximately 95 minutes, no intermission) for the KXT runway on Broadway.

However, this version is not actually about Hedda. Instead, Skuse places the action in the audience’s lap, with four golden seats scattered across the front rows reserved for the actors, and the sets placed uncomfortably close to our feet. Production designer James Smithers (who also plays Hedda’s husband, Jorgen Tesman) is simple, leaving wide empty spaces for the actors. The Piano and His Maid (composer and pianist) Christy May) haunt the corner of the stage, mirrors line the walls, flowers and books are scattered everywhere. It’s an impressive image, stripped of any of the gilded luxury of Hedda’s vast mansion, a home in which she feels as trapped as her unwanted marriage.

Ella Prince (they/them) play the titular anti-heroine, their blonde pixie cut and silk pajamas hinting at an androgynous take on the classic character. Her new husband, Tesman, sports the unruly mop of hair typical of a “brilliant” male scientist, and his loving Aunt Juliana (Suzanne James) is always dressed to the nines. Jane AngharadThea Elvsted’s Thea Elvsted is a sweet and balanced addition to Ella’s increasingly manipulative Hedda. Jack Angwin maintains tension as Hedda’s scorned and tortured lover; And Christopher Tomkinson plays the subtle Judge Brack, who never stops chasing Hedda’s beauty.

Like many melodramatic tragedies of that era, Hedda Gabler tends to hit you over the head with its message. This version did a brilliant job of thickening the action and increasing the intensity even further – with mixed results. Prince’s “Hedda” is a bit overwrought, and audience participation can feel a little contrived in an already intimate space like KXT. The pianist/maid also announces each act, which gets a little awkward in the fourth act, but the intention to modernize this classic piece is commendable.

There’s a lot to enjoy in this production, and the emotional rollercoaster reaches almost every level you could want as it builds to Hedda’s inevitable end. I just wish Hedda’s experimental take on gender identity had been explored with deeper nuances beyond her androgynous appearance.

Hedda Gabler is presented by Secret House in association with BAKEHOUSE Theater Co on the KXT Stage on Broadway. The season will run until November 2 and you will be able to find tickets here.

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