Stratford Festival 2024/Hedda Gabler by Henrik Ibsen, adapted by Patrick Marber (from a literal translation by Karin and Ann Bamborough), directed by Molly Atkinson, Tom Patterson Theatre, closes Sept. 28. Tickets here.
The Stratford production of Ibsen’s 1891 masterpiece, Hedda Gabler, is, in a word, a disappointment.
The actors, which include some of Stratford’s best, say their lines as if it is a cold reading in a rehearsal hall. It is almost as if director Molly Atkinson and her cast deliberately decided to exclude any dramatic flavour, thus allowing the playwright to carry the production, both text and subtext, all alone, with the actors being mere mouthpieces. The play as presented is a blank canvas that does not make for stirring theatre.
Ibsen was a social critic who brought realism to the stage, particularly in his savage portrayal of middle class society. Today we would call the great Norwegian writer a feminist. Hedda Gabler is one of his finest creations — a complicated character whose life has been blighted by societal conventions. She craves power and influence, in fact, she feels entitled to it — she is the General’s daughter after all — but is trapped in the role of wife and future mother. Ibsen intentionally called his play Hedda Gabler, not Hedda Tesman, her married name.
The alluring Hedda (Sarah Topham) has married academic Jorgen Tesman (Gordon S. Miller) because she is poor and ageing, leaving her trapped in a loveless relationship. For his part, the kindly but obtuse Tesman is enthralled by his wife and can’t believe his luck at catching the belle of the ball for his own. Hedda’s unhappiness and frustration manifest themselves in a streak of cruelty.
Hedda also has to contend with the well-meaning but suffocating ministrations of Tesman’s beloved Aunt Julie (Bola Aiyeola) who raised him. Then there’s the fawning maid Bertha (Kim Horsman), a former employee of Juliana’s who has been foisted upon the Tesman household.
Hedda’s jealousy is aroused by the arrival of an old schoolmate, Thea Elvsted (Joella Crichton) who has left her loveless marriage to follow the brilliant Eilert Lovborg (Brad Hodder), a former tutor to her step-children. Under Mrs. Elvsted’s influence, Lovborg has given up his dissolute, alcohol-infused lifestyle to write his magnum opus with her help. Lovborg, however, was a former lover of Hedda’s, and she is determined to gain control over him again.
One of Ibsen’s most interesting characters is the wily Judge Brack (Tom McCamus). By loaning money to the Tesman family to support the rich lifestyle that Hedda craves, they are in his debt. He also wants to control Hedda because he sees right through her facade, and thus, becomes her serious adversary.
The interplay between these characters is fraught with high drama above and below the surface. Hormones rage, tensions mount, and the cauldron of emotions bubbles over as Hedda feels increasingly trapped. Her only outlet for her strength of character is her gaining power over Lovborg.
Sadly, none of this plays out on the stage rendering a hollow shell of a production.
In her 15 years at Stratford, Topham has paid her dues and deserves to win top roles. Hedda Gabler should have been the plum of plums, but this performance does nothing to show off her many talents. The biggest disappointment is McCamus’ Judge Brack. Never once do you see the character’s cynicism, his arrogance, his self-conceit, and most of all, his hidden menace. As for everyone else, they are cyphers.
Everything about this Hedda Gabler is leaden, from Lorenzo Savoini’s dark set and costumes, to Kaileigh Krysztofiak’s moody lighting, and Mishelle Cuttler’s somber music — all adding to the deadness of the production as a whole.
The adaption is by Patrick Marber, a well-known British playwright and director, who has produced a clean, terse version of Ibsen’s text. There is no fault in the script per se — only in the execution.
In fact, there is more passion in director Atkinson’s program notes than makes it to the stage.
Are you looking to promote an event? Have a news tip? Need to know the best events happening this weekend? Send us a note.
#LUDWIGVAN
Get the daily arts news straight to your inbox.
Sign up for the Ludwig Van Toronto e-Blast! — local classical music and opera news straight to your inbox HERE.
