Skip to main content

Review of Hedda Gabler at Royal & Derngate (Derngate), Northampton

I always approach my first encounter with such well-renowned playwrights with a touch of trepidation, be they Pinter, Miller, Williams or B.G.S, I fear that while I feel I need to like them, simply because, I am concerned that I might not. Fortunately, all of those listed, I have got on with and we don't mention the ones that I haven't. So, anyway, here we are, a few years down the line of aggressive theatre-going, and I come to my very first meeting with the work of Henrik Ibsen. Yes, it's true.

This brand new version of Hedda Gabler for the modern age is by Patrick Marber, a playwright I have seriously loved every previous encounter with. Here he and director Ivo van Hove brings the 1890 original bang up to date, with video entry systems and modern dress to Ibsen's words and a collection of other modern tinges.

At the heart of Hedda Gabler is, unsurprising, the title character, a nasty, strong, yet also a childlike character in equal measure. I like my own child reference, simply because I imagine Hedda as a youngster pulling legs off spiders in her early days of spiteful and wickedness. In the hands of the highly capable Lizzy Watts, she also brings a nervy movement to the role as well, twitching about the stage, with arms flailing, it is as much a physical performance, as a verbal one. I have always championed female roles in theatre, mainly because there are so few of them, and in Hedda, this is a real diamond of a role, although far from endearing. Watts though commands the stage at all times, even when surrounded by a number of the equally strong male characters.

Elsewhere, I was not totally convinced by Abhin Galeya in the role of Tesman, at times he was perfect, in the cool, calm conversations for instance, but then in moments of higher drama felt curiously cartoonish and overplayed, and occasionally very silly. It perhaps didn't help that some humour feels sledgehammered into this at times, the worse given to Tesman, trying too hard to create mirth, when we should only be feeling the tension. Adam Best as Brack though is very impressive, and part of the most uncomfortable scene in the play especially, as he sexually and suggestively tortures Hedda with his can of juice (not a euphemism), Hedda clearly at this point has become trapped in her own manipulation games. It's powerfully and forcefully played by Best.

Hedda Gabler leaves me a day after unsure whether I will gell with Ibsen as much as I have others on the list above, however, much of that I lay at blame of this production for now. Some of the stagings is at times a little obviously "National Theatre", with slightly overexaggerated visual metaphors going on, the window boarding for example. The stripped back minimalist set offers plenty of space for the characters to move about on, but this creates a tremendous amount of travelling to contend with. Added to this, the theatre aisles are used for entry and departure of all the characters, with only Hedda and Berte, the maid (Madlena Nedeva) not getting an opportunity to leave us, creating moments when openly armed characters await an actor trying their best to get up the aisle in sensible time.

Director Ivo van Hove also has a habit of using the extremes of the staging for many sequences, some very long, therefore we have great chunks where the audience has to divert all its attention to activity pinned right to the edge. It is a little gimmicky to my liking at times. There are moments of brilliant drama though, the dramatic sequence featuring the flowers is sublime, while the final scene is powerfully created, and strongly performed by Watts and with cleverly underlit walls The other characters all spectators on the carnage like they are just gathered around a sofa watching a film on a 42 inch TV. A lot of the drama of this though feels destroyed with Tesman's simplistic response, leaving many of the audience laughing at what feels the most inappropriate time possible.

Another powerful but non-human character in this production is Jan Versweyveld's lighting (and upon his own clinical set), which oozes around the play like a living being. Bringing light from clever angles, and extremely specific ones at times. It bounces colours around the initially stark walls of the set.

Summing up on this one is a curious job, I did very much enjoy it, but was at times, often left feeling as if I hated it as well. It is at it's best in the first act, before there becomes such an abundance of so-called clever moments of staging and odd humour. Also, I don't think I will be ever keen on seeing the cast of any play bringing parts of the set through the theatre and getting the Black & Decker out because despite not knowing Ibsen hardly at all, it still doesn't feel very Ibsen to me even at this embryonic stage. Definitely worth catching, but also expect to dislike great chunks of it as well.

A curate's egg.
⭐⭐

Performance reviewed: Tuesday 28th November 2017 at the Royal & Derngate (Derngate), Northampton.
Hedda Gabler runs at the Royal & Derngate until Saturday 2nd December 2017 before continuing its tour in the new year. Details at https://www.nationaltheatre.org.uk/shows/hedda-gabler-on-tour

For further details about the Royal & Derngate see their website at http://www.royalandderngate.co.uk

Photos: BrinkhoffM+Âgenburg

Popular posts from this blog

Review of The Brittas Empire at Stantonbury Theatre, Milton Keynes

Those old enough to remember may have recollections of the nineties sitcom The Brittas Empire , written by Richard Fegen and Andrew Norriss. Starring Chris Barrie, the wacky series follows the exploits of Gordon Brittas, the man with a dream and a leisure centre in Whitbury New Town to fulfil it, despite the numerous consequences that result. I loved it, and when I heard that MKTOC (Milton Keynes Theatre of Comedy) were to produce the world premiere of the stage show at Stantonbury Theatre, I had to be there to see it. Adapted by Steve Clark (who also directs) and Emma Dell (who also plays the neurotic Helen Brittas), they have put together a loving and fully understanding script based on stories and situations from many episodes, which are ideally suited for the stage. Taking on such a unique show is dangerous for both adapters and cast. Still, the group has perfectly pitched the characters so that they are instantly recognisable from those we remember on screen. Rob Simpson takes on ...

Review of Treasure Island at Royal & Derngate (Royal), Northampton

Everyone knows the famous story of Treasure Island , either in detail or in the basic knowledge of Long John Silver, Captain Flint, the parrot, and young Jack Hawkins, as well as his treasure map. However, physical and riotous theatre group Le Navet Bete's adaptation of that same story, docked at Royal & Derngate now, spins a slightly more bizarre version. Le Navet Bete (which translates as The Daft Turnip) is not a French group but was formed in 2008 in Plymouth when the members met while studying. Now based in Exeter, they have made a name for themselves with their shows, which combine clowning, physical slapstick, pantomime, and general buffoonery. Treasure Island was my first encounter with the group, and based on this, I can't wait to see more. Four actors perform in this show: Al Dunn, Matt Freeman, Nick Bunt, and Simon Sebastian Burbage. All play different characters from the story, although Bunt stays as Hawkins throughout much of the show. As expected, they are al...

Review of War Horse at Milton Keynes Theatre

Michael Morpurgo's novel War Horse was published in 1982. While it was highly regarded and thought to be his best work, perhaps it eventually came to most people's attention when this striking play stormed the stage, thanks to the National Theatre, back in 2007. Now, War Horse arrives at Milton Keynes Theatre as part of another vast UK tour. Adapted by Nick Stafford in association with the award-winning Handspring Puppet Company, War Horse tells the story of the First World War through the eyes of one horse, Joey, sold for a record price from a family battle but eventually shipped off to war-torn France much to the distress of his original owner, 16-year old Albert. The sprawling and epic story should take some staging, but the vast cast, beautiful structure, stunning folk music and, of course, what this play has become known for, magnificent puppetry, all bring the story to life. This production, directed by Tom Morris and revival director Katie Henry, is a magnificent thin...