Review By Grace Swadling
From the opening moments of ‘Hedda Gabler’ - with the smell of stage smoke lingering in the air and the real life piano sitting there almost begging to be played - the atmospheric world began to draw an audience in. Director Anthony Skuse has brought together a brilliant cast to present a condensed, stripped-down version of Ibsen’s classic that retains the intricacies of the original whilst examining its power dynamics in a refreshing new way. Presented by Secret House, ‘Hedda Gabler’ examines “one of Ibsen's most famous and vivid anti-heroines, as she struggles to break free from a life of convention with disastrous consequences.” The complexities and nuances of Hedda and indeed of society are given the space by Anthony Skuse to be scrutinized in a deeply moving and gripping performance.
Ella Prince showcased impressive stage presence as the titular Hedda, portraying this complex character with an almost unbearable rawness. At any given moment it felt as though something was about to snap under the surface, which gave their Hedda an almost manic quality. A wild animal pacing and snarling in her cage, this nonetheless never undermined the fraught vulnerability that Prince also excelled at showing, the tremor of a character so at odds with the world she is trapped in.
The clever costuming was also a stark reminder of Hedda's ‘otherness’; her pajamas almost too modern, her vibrant robe at odds with the many layers worn by the other more conventional characters. When Hedda is at her most trapped, by societal conventions and within other people’s oppressive power, she finally adorns the black full dress of a woman of the era.
Travis Kecek's simplistic yet elegant lighting cast shadows that shrouded characters in mystery but which could also become at once harsh, sterile lightning to illuminate all their flaws. The set was somehow both minimalist and yet completely realized. James Smithers use of mirrors was almost tricking the traverse set up, so you could see all sorts of angles and expressions of the characters reflected back at you. The sliding doors were an amazing addition to the space and the actors took care in incorporating them, including lovely moments of diegetic sounds of conversations being held off-stage. This production also employed the delicious recurring element of characters sitting in the audience, which made the stage feel bigger as well as drawing us further in the world of the play. This was especially felt when Hedda herself sat next to audience members, as you got the sense that we were watching everything unfold through her eyes, including the strings she pulled and was subsequently pulled by.
The supporting cast rounded out the world of ‘Hedda’ and served to build the growing tension that was interwoven throughout the play as well as the undercurrent of manipulative sexuality and danger. James Smithers was charming as the hapless husband who is aware that his wife doesn’t love him. Jack Angwin was utterly compelling as the tortured ex-lover and Christopher Tomkinson’s Judge was as deeply enthralling as he was deeply chilling. All three men exert different power over Hedda in various ways throughout the play and I was honestly moved by the tableaux of these three men on stage all together, pinning Hedda under their gaze. Suzann James was loveable as the constantly interfering and widowed aunt, bringing a touch of comedic relief but also an innate sadness to a woman who has lost almost everything dear to her but has no other choice than to go on. Jane Angharad’s Thea Elvsted brought a hopeful and innocent touch to an example of what a woman of her time should be - the antithesis of Hedda in almost every way.
Music played a huge role in this production, with Christie May’s almost omniscient narrator-cross-pianist taking to the piano and filling the theatre with visceral, almost-ethereal music. This was particularly poignant in one of the most notable moments of the production, both theatrically and visually, complete with real fire. Although it felt like there could have been a slightly deeper build up to the emotional climax, overall the scenes moved along at a good pace, the losses were clear and the intensity of the performances shone through. ‘Hedda Gabler’ was both modern and timeless, a feat that should be acknowledged and celebrated, and was a highly thought-provoking and engaging piece of theatre, a testament to both its cast and creatives.
Image Supplied