|Valerie Redd as Hedda. Photo by Jeff Farkash.|
Seen on: Saturday, 9/24/16.
My grade: A-. Sumptuous and intimate.
Plot and BackgroundHedda Gabler, Henrik Ibsen's 1891 classic, follows the titular character as she returns from her honeymoon, already bored with her new husband and seeking power and control over others' destinies. She is orbited by George, her smiling mediocrity of a husband; Judge Brack, a family acquaintance out for power of his own; and Eilert, a former flame - now sober, writing great works, and in love with an old classmate of Hedda's, Thea. As Hedda gathers and weaves the strands of these people's lives, she finds herself inextricably knotted in her own web. Hedda (Gabler) is produced by Wandering Bark Theatre Company, currently in residence at IRT. Wandering Bark, founded in 2011, is dedicated to exploring and adaption classical works, often with live music, multi-media design, and stylized physicality.
What I Knew BeforehandIt's vaguely possible I saw a teleplay of Hedda Gabler at some point, as the story beats felt familiar, and I definitely knew the play's final moment (and not just because of A Gentleman's Guide to Love and Murder). And I knew I would be working through the fact that Ibsen generally leaves me cold.
Play: I don't know to whom to give the most credit - Matt Minnicino's taut 90-minute adaptation, Joseph Mitchell Parks's seamless, circling staging, or the cast, largely excellent and without self-indulgent flourishes - but this production belied my usual issues with Ibsen with aplomb. The story was gripping, full of inevitability and yet fighting its own fate with a laced-in ferality. The play still doesn't quite answer the question of just how such a person as Hedda can exist, but that seems to be an intended mystery - no one, not even Eilert, grasps the fullness of her, the hidden agendas, the plans, the manipulations. Only Hedda knows, and she's not telling. The play is staged with great economy, transitioning between scenes with stylized dances, as choreographed by Brad Landers, that give more insight into Hedda's inner motivations than her behavior in polite company. If you think you don't like Ibsen, I challenge you to take the time to go see this production, and then talk to me about it. If you do like Ibsen, then you should absolutely see it, and then talk to me about it.