Review: Hedda, Orange Tree Theatre

On arriving at the Orange Tree for Hedda, inspired by Henrik Ibsen’s classic Hedda Gabler, you’re struck by the bright white, simple staging (Simon Kenny). A fully white set – furniture, carpet, drapes from an overhead structure, and harsh but very effective lighting (by Ben Ormerod) immediately sets the tone for a tense and dramatic two hours.

Given an inspired and no doubt personal twist by Director Tanika Gupta, we’re transported to 1948 London, post-war and post-Indian independence, in a less integrated world than we live in today. Our first glimpse of what’s to come is from Shona (Rina Fatania), Hedda’s lifelong maid and companion, setting the scene for the arrival of star actress Hedda (Pearl Chanda), returning from her honeymoon and to London with her new (and third, or is it fourth?) husband, fledgling film director, George (Joe Bannister). Love is in the air, for one of them anyway. Boredom and mediocrity appear to be in the air for the other. Chanda and Bannister are a terrific pairing; she plays the frustrated former starlet, biting, slightly cruel; he is the giddy new husband, coming to terms with marrying one of the era’s big screen stars. 

George appears to have lived a sheltered, privileged life prior to his marriage, ably assisted by his ever-loving and supporting Aunt Julia (beautifully played by Caroline Harker) and the ailing Aunt Rena, whom we never get to see. 

As the story progresses, we discover that all is not what it seems with Hedda. Whilst she is clearly struggling with settling down with the jolly, fumbling George and their apparent lack of money, Hedda’s mental health is suffering underneath the steely façade. Secrets have been kept for a lifetime, shared with only one or two confidants. The arrival of Alice (Bebe Cave), one of George’s past flirtations and a ‘friend’ of Hedda’s from a past film, stirs something darker in our starlet. The manipulative John Brack (played coolly by Milo Twomey) and very troubled writer Leonard (Jake Mann) force Hedda to confront her past, and we see her deteriorate as her former hidden life comes back to haunt her. Chanda is excellent as our leading lady, easily building the tension and demonstrating the physical and mental impacts of Hedda’s life.

The real star of the show for me was Fatania’s Shona. Whilst not present on stage for lengthy periods of time, she very quietly steals the scenes when she appears. The occasional look. The calm yet authoritative presence. The cutting dialogue. The obvious care and fondness for Hedda. All are produced and acted beautifully.

This is a well-scripted yet challenging twist on a classic story, bringing to the fore issues from the original era of Ibsen’s writing in 1891, via the setting of 1948, to the modern day. Within the intimate setting of the Orange Tree, the audience is invited to feel a sense of involvement and connection. Occasionally, some of the language of the era is shocking, but we are invested and enthralled. Gupta’s adaptation of Ibsen’s thrilling story deserves every success.

Written by Tanika Gupta
Directed by Hettie Macdonald
Set Design by Simon Kenny
Costumes by Sheena Napier
Lighting by Ben Ormerod
Sound by Pouya Ehsaei
Casting by Helena Palmer CDG
Fight Direction by Ruth Cooper-Brown

Hedda plays at The Orange Tree Theatre until Saturday November 22.