Her Father’s Daughter

Her Father’s Daughter casts a critical eye on the classic Hedda Gabler. Keziah Warner has written an exciting new contemporary modified version composed masterfully with sharp poignant dialogue addressing the concerns and values of middle - class Australia

Henrik Ibsen was a modern realist who questioned the stifling repressive Victorian morals and wrote tragic plays such as Hedda Gabler, a play that still resonates strongly with audiences today.  Director and Dramatuge Cathy Hunt has executed an insightful interpretation with crucial and striking consideration to dialogue, casting and staging that complements Warner’s writing.

The eponymous Hedda (Cait Spiker) is cast well as the insidious yet beautiful female protagonist. Her deceased father was a reputable politician, and it was heralded by his colleagues that she would be the next female prime minister. At thirty she marries a foppish academic George Tesman (Tim Witherspoon) who is cast perfectly as the doting, bookish, unassuming eccentric. Hedda is subtly dismissive of his mundane scholarly pursuits as she procedes to exploit her targets to satisfy her own dissatisfaction with herself. She preys on Eli Lovman (Luke Mulquiney), who executes the role of the caddish past lover and reformed alcoholic with remarkable ease. There is a level of disturbing unease persistently stirred by Hedda as she manipulates Thea Elvsted (Laila Thaker), who is splendid as the unassuming lover of Eli.

Her Father’s Daughter questions the complexity of Hedda’s psychological conflicts; she had it all but gave it up to be a trophy wife. Her unhappiness and safe but wrong life choices turn her into a demonic monster, yet there is space for empathy despite her flaws. Flip the coin and a boys’ club of successful scholars, achievers, philanderers and alcoholics are accepted to rule and never questioned or pose as threats.

The performance is staged in the grand location of the historical council chambers in the Prahran Town Hall; high ceilings, chandeliers and portraits of unknown dignitaries symbolizing authority, power and status. It’s befitting for the wealthy and powerful Brack (Fabio Motto), who is perfectly composed as he bestows his sleazy ways on Hedda at any given opportunity. It is also a brazen chance for the production team to embrace these spaces and shift audiences to a different room at the end of each act, whilst paying homage to the claustrophobic ambience of the original play that was set entirely in a drawing room.

This truly thought-provoking an inspiring show is presented by Melboure based Hotel Now and supported by the City of Stonnington.

Flora Georgiou

Photographer: Theresa Harrison.