Hedda

Hedda
Directed by Renato Fabretti. Blue Room Theatre, Northbridge, WA. Aug 13-31, 2013.

Hedda is a reconstruction of Henrik Ibsen's Hedda Gabler by Norwegian actress-producer Marthe Snoresdotter Rovik. Her aim was to "expose Australian audiences to Hedda, the way Ibsen intended."

The original Hedda Gabler was shocking to audiences at the time, with its realism and controversial feminist theming. This new Hedda is designed to take audiences out of their comfort zone into the unfamiliar. Performed on a traverse stage, meaning the audience can see each others' reactions, the actors are within touching distance of most of the audience. Several lines of dialogue are delivered in Norwegian, which is a startling reminder of the origins of this play. Overtly modernised, this new Hedda's world is one of iPhones, laptops and video intercoms..

The performances are strong throughout. Marthe Snoresdotter Rovik is a formidable Hedda, strong and scheming and you feel that while Hedda is in control of the situation, Marthe is in control of the play.

Tone Skaardal makes a lovely contrast as Thea, former school mate of Hedda, whom she bullied and teased. Fragile and gentle, this was a lovely performance for her Australian debut.

Richie Flanagan was a likeable Tesman, Phil Miolin, a strong and interesting Brack. Director Renato Fabretti gave alcoholic Lovborg a great amount of depth and it was easy to see his attractiveness and intelligence despite a less than salubrious past.

The play ran considerably longer than its publicised ninety minutes and at times the pace was a little laboured. Apparently there is supposed to be surround audio-visual, but this had malfunctioned opening night. Perhaps this may help the pacing. This was an interesting interpretation that sent me back to the original text (or the English translation thereof) for a second look. It was a worthy production.

Kimberley Shaw

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