Reviewed by Louise Edwards
After a sell-out run at the National Theatre, Hedda Gabler, is this week being performed at Nottingham’s Theatre Royal. The play, written by Henrik Ibsen in 1890, is translated to modern day by Olivier Award-winning playwright Patrick Marber (Closer) and directed by Olivier and Tony Award® winner Ivo van Hove (A View from the Bridge).
As we entered the theatre, actors are on stage already and the scene is set with piano playing in the background. The set is simple and closed off from the stage wings, so actors enter the stage via the steps from the audience. The modernist stage consists of cupboards with props in and furniture moves fluidly around the stage as scenes transform.
Although the play has been brought up to date with some modern technology, such as video screens for door entry, there are no mobile phones or computers.
Newlyweds Hedda Gabler, played by Lizzy Watts, and George Tesman, played by Abhin Galeya, are back from a six-month honeymoon which was also a research trip for his latest academic work. They have moved into a vast flat, which Tesman believes to be Hedda’s dream home, that they can only afford to furnish sparsely as he awaits a promised promotion.
Juliana, Tesman’s doting aunt and played by Christine Kavanagh, who has raised him from a baby when his parents died visits with news of another Aunt’s impending death. She annoys Hedder as she hints at pregnancy being imminent.
We also are introduced to Berte, a maid, played by Madlena Needeva, who remains on stage throughout the whole of the production saying little but observing the action closely.
Hedda is clearly bored of marriage already and when Mrs Elvsted (played by Annabel Bates) a younger schoolmate of Hedda (who Hedda bullied) and a former acquaintance of Tesman, visits and pours her heart out to Hedda about her unhappy marriage Hedda is intrigued to learn more from her. We learn that Mrs Elvsted has left her husband and is in love with Lovborg, a writer and rival of Tesman’s who has previously declared love to Hedda herself.
Lovborg, a former alcoholic, has written his best work ever with Mrs Elvsted and seems to be reformed under her positive influence. He has the manuscript with him which he shows to Tesman. Tesman is jealous as he fears that Lomborg may be competition for the promotion, as indicated by Brack, a companion, played by Alan Best. Brack flirts with Hedda, who is drawn to his dangerous side where she can be cheeky and spirited.
Hedda is manipulative and calculating yet at the same time gives the appearance of being innocent and naive as we see her lure Lovborg with alcohol and he leaves Hedda and Mrs Elvsted to go drinking with Brack and Tesman taking along their beloved “child” the manuscript.
The dramatic and powerful first half ends as the theatre is plunged into darkness.
The second half opens the next morning with news that Brack, Tesman and Luvborg did not return home and as the drama unfolds we see the lengths people may go to to get what they want, regardless of what or who is standing in their way. We learn more about the characters and their intentions, abusing their power and hold and battling their own struggles. The result is bloody and shocking, yet not completely unexpected.
This is a stunning play and the themes running through, such as mental health, power struggles and personal motivations, are as strong today as they were when it was first written over 100 years ago. If you get the chance to catch world class theatre such as this you won’t regret it.
Rating: 5/5
Tickets cost from £10 to £32.50 (booking fees may apply).
Hedda Gabler is at the Theatre Royal in Nottingham from 5-10 February 2018, for more information or to book tickets visit www.trch.co.uk or call the box office on 0115 989 5555.
Theatre Royal & Royal Concert Hall, Theatre Square, Nottingham, NG1 5ND
