Review: Hedda Gabler, Etcetera Theatre

What is it like to be trapped inside a loveless marriage, despising every facet of monotonous domesticity? How can we wrestle control from the jaws of convention? Is it possible to supress our desires and keep our sanity intact?

Henrik Ibsen’s Hedda Gabler remains a cornerstone of modern drama, offering a searing exploration of personal entrapment and societal pressure. In this adaptation by Kyle Goeken, directed by Charlie Froy, the intense portrayal of Hedda’s inner conflict and her desperate struggle to escape the constraints of her world is interrogated.

Staged in the lively Etcetera Theatre, the minimalistic design of the production sets the tone. The staging and costuming are simple and functional, allowing the focus to remain squarely on the characters’ raw emotional landscapes. Similarly, the subtle yet effective use of lighting and sound—particularly the echoing gunshots—underscores the looming violence that pulses beneath the surface of our anti-heroine, and familiar red backlighting illuminates Hedda’s emotional climax. These elements are used well, never overwhelming the story, but enhancing the overall sense of foreboding as the play heads towards its inevitable tragedy.

The standout element of this production, however, is its exceptional casting and performances. Pia Litzmann’s portrayal of Hedda is sharp, brutal and restrained; she expertly navigates the complexity of the character, an anti-heroine so full of contradictions that she demands both sympathy and disdain in equal measure. Litzmann’s Hedda is magnetic, combining a seductive charm with a palpable bitterness that makes her both compelling and infuriating to watch.

Conversely, Karl Noble’s George Tesman offers much-needed comedic relief. His bumbling earnestness is the perfect antithesis of Hedda’s cold, simmering frustration. Moke Bentley’s Judge Brack delivers a reserved yet chilling performance that exudes power, confidence, and a particularly sinister kind of charm. Bentley embodies all-too familiar chauvinism, reminding us of the deeply entrenched patriarchal norms that suffocate Hedda at every turn. His scenes with Hedda crackle with tension, their uneasy dynamic encapsulating the core of the play’s examination of gender and power.

The most intriguing elements of Goeken’s adaptation is the introduction of an unnamed, non-verbal character who remains on stage for much of the play. This unidentified presence enters the stage with Hedda, then silently stalks around the action, rarely ever being acknowledged. Initially, this presence feels like an ominous shadow, or a silent witness to Hedda’s unravelling. As the play reaches its climax—with Hedda’s destruction of Lovborg’s manuscript—the character finally exits the stage. The quiet, almost voyeuristic presence seems to symbolise the suffocating forces that trap Hedda in her own life; perhaps it is a physical manifestation of her entrapment, her crushing boredom, or the restless yearning for control that drives her to destructive extremes. In the final moments, when Judge Brack reasserts his dominance, the figure reappears to hand Hedda the gun, sealing her tragic fate. The production might have benefitted from more such bold choices to deepen our understanding of the contemporary resonance of Hedda’s story.

Ultimately, this production of Hedda Gabler successfully immerses the audience in the dark, suffocating world of its protagonist. With strong performances and a sharp sense of direction, it serves as a reminder of the enduring relevance of Ibsen’s exploration of societal constraints and personal destruction. While there is room for further innovation in its modern interpretation, the adaptation offers a compelling and thought-provoking experience.

Written by: Henrik Ibsen
Adapted by: Kyle Goeken
Directed by: Charlie Froy
Associate Director: Elsa Pahl

Hedda Gabler plays at Etcetera Theatre until Sunday 25 May.