Synopsis Classic drama of a woman consumed by her passions and driven to destroy all she should love. Hedda's recent and unexpected marriage to worthy but dull academic Tesman is threatened when she returns from honeymoon to find that Lovborg, a charismatic but dissolute previous admirer, has reformed his ways and published a best-selling masterpiece. His now-found success now threatens Tesman's own claim to a professorship - which is his only hope of supporting Hedda in the style she demands. Tesman is already in debt to another of Hedda's admirers, the dangerous Judge Brack. But suddenly events seem to put Hedda in a position to control all their destinies. This is a blistering examination of a woman in turmoil.
NOTE: This review dates from March 2005 and this production's original run at London's Almeida Theatre. For current venue information, see performance listings.
Fresh from big budget musical Mary Poppins, a story of a dysfunctional family and the redemption it receives from the appearance of an airborne nanny, director Richard Eyre now turns to Hedda Gabler, a far more merciless and shatteringly intense portrait of another dysfunctional marriage under irrevocable strain.
Eyre, who has also provided the Almeida’s new version of Ibsen’s 1890 play, says that he was drawn to revive it when he chanced upon an interview in Hello! magazine with “a rich posh young woman who was celebrated for being celebrated… and yet had no talent for anything but self-advertisement.” She was quoted as saying, “I’m afraid I have a great talent for boredom.”
That’s echoed here, of course, by Hedda who tells her friend Judge Brack, “There’s only one thing I have a vocation for – boring myself to death.” She’s just returned from a six-month honeymoon, spent trailing around after her academic husband as her pursued his academic interests, and is already suffocating to death. “You can’t imagine how bored I’m going to be here,” she complains.
But there’s nothing boring about watching the riveting machinations that this ruthless manipulator indulges in as she seeks to keep herself morbidly amused and us bemused. As played by Eve Best, with equal measures of calculation and revulsion at what she’s doing, you simply cannot take your eyes off her. Eyre has said that it was seeing Best in Mourning Becomes Electra at the National (on the same day that he read that Hello! article in a dentist’s waiting room) that convinced him she was “born to play Hedda”, and that it was a sign he should do the play.
Thank heavens for waiting rooms. Best has been rapidly climbing the ranks of our leading young actresses, but she now makes a quantum leap to the very top. Like a cross between Vanessa Redgrave and Fiona Shaw (the latter in the audience herself on press night), Best has height, intensity and a sense of danger, but without the other ladies’ sometimes distracting affectations or mannerisms.
Hers is a harrowing portrait of despair, but Eyre has not made it a one-woman show. Best is powerfully partnered by Lisa Dillon as an old school friend whom she used to torment as a child and Jamie Sives as an ex-flame whose own destruction she also brings about. Benedict Cumberbatch and Iain Glen also make strong contributions as Hedda’s husband and confidante respectively.
Absolutely fantastic! Anyone that could fault any performer obviously didnt appreciate the quality of acting. Hedda was an amazing character - Best did a wonderful portrayal, combining variety of emotions and delivering them superbly. All actors were fabulous, and as an AS theatre student I was (as were my fellow students) inspired by them enormously. The set was very appropriate, and the 'fourth wall' used very effectively by the Judge. Both acts kept the audience focused, making you feel like you were not watching a play but spying on a private family. The suicide at the end was very effective - it still shocked the audience, even though everyone knew what was to come. Amazingly portrayed, one of the best plays I've seen! - 80.42.150.86)
13 Apr 05
Despite a slow first act, Eyre has managed to bring humour to a usually gloomy script, and Eve Best is perfectly cast and perfectly irritating as the bored housewife. Iain Glen doesn't disappoint after his strong performance in the Seagull at Edinburgh, and Jamie Sives gives an impressive performance as the relative newcomer. A thrilling second act despite the inevitable suicide left the production on a high note, with the Judge's excellent last line amongst the commotion. - 193.60.51.126)
05 Apr 05
I made the 1st preview so not meaning to judge too harshly but I'm afraid I was massively disappointed. Best seemed capable of hitting the emotional highs and lows but was unable to connect them. Dillon, in a tough role remained distractingly weaping throughout and Glen postures too much for the intimacy of the almeida. Cummerbatch though was a saving grace. I so wanted to love it dammit. But I must reassert it was 1st preview only. - 69.225.222.16)
27 Mar 05
Not exactly subtle, but rich in technical excellence both fom the actors and in the direction, lighting and decor. Eve Best shines, as everyone says, and her surrounding cast is unifromly strong. A few quibbles but a lot of revelations. - 195.144.130.1)
23 Mar 05
A gripping production with an excellent performance by Eve Best well-supported by a strong cast - a thoughtful interpretation of a still modern play.
- 80.189.201.166)
22 Mar 05
Generally average. A bit derivative. Uneven acting (Jamie Sives). Not as good as NT production (during Eyre's tenure). - 192.135.68.2)
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