Rosamund Pike stars as Henrik Ibsen's most controversial heroine in a production destined for London's West End, directed by RSC Artistic Director Adrian Noble.
Hedda Gabler
Jürgen and Hedda Tesman (nee Gabler) are newlyweds returning from a six-month honeymoon. Jurgen dotes on Hedda, who in return is faintly dismissive of her new husband's family and situation - she is clearly from a higher social echelon.
A visitor brings news of the reformation of Jurgen's former rival, Lövborg, a dissolute wastrel gradually working his way back to respectability. At her prompting her naive husband writes a letter of reconciliation inviting Lövborg to come and visit. Another visitor is the sinister Judge Brack, played by Tim McInnery (an actor becoming ever more notable for his portrayal of villains since featuring in Doctor Who), who makes it clear that he would like an affair with Hedda. She is non-commital, but doesn't reject him out of hand, which would have scandalized Victorian society.
As the play progresses, Lövborg's reputation continues to rise, while Tesman's continues to subside; since Tesman's marriage has been founded on the promise of advancement, his position becomes ever more difficult. Hedda admits to Lövborg that she married Tesman out of bredom with society, but clearly regrets it now.
As the play progresses to its inevitable tragic denouement, Hedda is revealed as devious, manipulative, but as much a victim of her circumstances
Henrik Ibsen
Ibsen was one of the most controversial playwrights of the nineteenth century. Plays such as A Doll's House touched off a decade of debate which can be summarized as 'Ibsenism' as defined by George Bernard Shaw. Ghosts was heavily censored on its debut in 1881, leading to the theme of the destinies of people speaking out in pursuit of the truth as shown in An Enemy of the People.Hedda Gabler arose from Ibsen's infatuation with 18-year-old Emilie Bardach from Vienna, and the frustration Ibsen felt at his own timidity and failure to grasp the opportunity that Emilie offered.
Theatre Royal, Bath
The Theatre Royal in Bath has established a reputation for proving a proving ground for plays to go onto London's West End, and Hedda Gabler has already bedded in well.
While Michael Meyer's translation is somewhat ponderous and filled with info-dumps, the cast make the most of it. Robert Glenister is solid as Tesman, naive, idealistic and obsessed with his work. McInnery has already been mentioned, while Colin Tierney is a revelation as Lövborg, by turns burning with passion, then nobly cold toward his former muse. But it is Rosamund Pike, probably still best known as Miranda in Die Another Day despite her role in An Education who understandably dominates the stage; by turns aloof, passionate, despairing, callous, she perfectly encapsulates Hedda's character.
She is helped by Adrian Noble's excellent direction. All the action takes place in the Tesman reception room yet thanks to judicious use of lighting, despite the small stage the setting never feels cramped, and Noble uses it's full width and depth. Equally notable is his use of silence and verbal space, using both to good effect to supplement the dialogue.
London theatre-goers have much to look forward to.
Colin Harvey - Author six novels, and editor of four anthologies; professional reviewer since 2003, including six years at Strange Horizons. Member of ...
