This stark and sleek version of Ibsen’s classic play, adapted by Patrick Marber and directed by Ivo van Hove, demonstrates Hedda Gabler has resonance far beyond its time.
An ice-cold but electrifying Hedda (Lizzy Watts) returns from her honeymoon with new (but already unwanted and undesired) husband Tesman (played by Abhin Galeya as more youthful and vibrant than those that have come before him, but still more interested in his academic buddies, and still treating his wife like a trophy in a display cabinet), to the blank walls of her marital prison. Apparently lacking the means or self-motivation to free herself, Hedda sets out on a path of universal destruction.
The production plays out at a uniform pace which makes the unfolding horror all the more insidious. Hedda is a master manipulator, taking perverse pleasure in her malevolence. Whilst hurting and harming all those around her, every act of cruelty is ultimately harming only one person, Hedda herself. Her self-annihilation is uncomfortable to watch and every action, foreshadows the inevitable ending.
Jan Versweyveld’s whitewashed representation of Hedda and Tesman’s new marital home is cell-like, and despite it’s vast size, feels claustrophobically confining. The sparseness reflecting Hedda’s own view of the physical and psychological walls between which she’s trapped. Indeed, van Hove and Marber’s adaptation shines a modern light on Hedda’s actions, actions that we would now associate as classic symptoms of depression. Versweyveld’s lighting is a triumph, almost a character in itself, subtly shifting the mood in the auditorium.
However, for all that does work, there are details that jar: video intercoms, but no mobile phones, Løvborg’s precious manuscript in handwritten form only, characters discussing riding coats and whether they should call each other by Christian names while swanning around in modern dress. While much resonates, it has been robbed of much its power to shock in transporting it to the 21st Century. While it is depressing to think that over a century on, gender imbalance still exists and many women are still trapped in stifling marriages due to financial and familial pressure, but most have, or can find, an avenue of escape or support. The nagging question keeps coming to mind: “Why in today’s world, doesn’t she just pack up and leave?”
Watts is impressive in the titular role as is Annabel Bates (below) as old schoolmate Mrs. Elvsted. While an object of Hedda’s torture both in the past and present, she has much that Hedda envies, and Bates imbues her with a steely backbone hidden behind the soft exterior. Adam Best, in an uncomfortably resonant display of sexual harassment, (in light of the Weinstein allegations) is suitably abhorrent as the bullying Brack.
Despite some questionable directorial choices, Hedda Gabler, while no longer shocking, remains unnerving, and this National Theatre production deserves to be seen by a wide audience.
Production photography Brinkhoff/Mögenberg