As we learn, in a rather sinister fashion, that ‘games have consequences’, a fresh eye and a lighter touch nevertheless exposes the absurd in Ibsen’s Hedda Gabler.
Turner or Constable? The Beatles or the Stones? While, of course, it is possible to love both, choosing between rival camps can be an amusing diversion for the discerning enthusiast. Among those of a theatrical bent, the ‘Ibsen or Chekhov?’ question will often lead to a heated debate, with strong feelings on both sides. How to choose between Ibsen, arguably the father of realism and Chekhov, the possible forefather of the absurd?
For those wishing to avoid such conflicts, Richard Eyre’s new version of Hedda Gabler provides the perfect answer. For this production brings the humour in Ibsen to the fore, entwining tragedy and comedy to lay bare the absurdity of our petty, human lives in a manner that even die-hard Chekhovians will appreciate.
This is a play where every slip of the tongue, in a very Freudian way, has a hidden meaning, it positively seethes with psychological themes – and most of them are attached to Hedda. Sexual repression jostles alongside the almost pathological fear of scandal and ridicule; the stifling social constraints breed a desperate desire to take control of her own life, on her own terms, but also to demonically meddle with others’; the excruciating existential boredom that threatens to overwhelm her, even as she watches others finding something to live for, something in which to absorb themselves; and the symbolic father figure – whose painting Hedda unveils from beneath its dustsheet - watches over all proceedings, as though perhaps responsible for it all.
Much has been written about Hedda Gabler being the female Hamlet, but it is far rarer to see a play – even today – that is driven by a central female role. Inevitably, therefore, much hinges on the strength of the lead actress, and Nicola Daley as Hedda balances the tricky nuances of comic irony and psychological depths with every bit of the attractive and destructive energy necessary to seal the success of this production.
Of course, she and the innovative script do not manage this alone. Apart from a seriously strong supporting cast, the look and feel of this production hits all the right notes, with the set and costume design creating an atmosphere of choking Victorian elegance. And under the inspired direction of Amanda Gaughan, who introduces a smattering of overtly stylised touches to great effect, the whole production is realised as the sort of complete, congruent and coherent whole that Hedda could never even dream of.
Runs until 11th April