REVIEW: HEDDA GABLER at Bread and Roses Theatre 2 - 13 July 2024

‘This choice of play gives new talent an opportunity to hone their skills and feel part of the immense history of theatre’ ★★★

It feels strange to start a review with an apology, but I feel compelled to do so to the director and cast of this production. Sorry guys, your play was really good but …

The problem reviewing classic plays is that the reviewer is faced with the slight dilemma of ignoring to some extent the text of the play itself. Whereas a new play, unexposed to the public, is an example of the playwright’s ability and imagination. Hedda Gabler has been performed for years and will continue to be performed for many years to come, so in such cases it is not the writing that is up for scrutiny; unless someone decided to go against the grain that is. It would be shocking for a reviewer to come up with the ridiculous statement that Ibsen is no longer considered one of the greats and that Hedda Gabler is not a very good play anymore. If you see what I mean.

Both Ibsen and Hedda Gabler have stood the test of time. So where does that leave us? The answer is, purely with the interpretation itself. And that means that the director and actors are faced with the challenge of coming up with something that at least does the writer credit and at most is something original that pushes the bounds of theatre into a new direction, a massive task.

Unfortunately, in the past there have been many cases where the brilliance of a classic play has been reduced to mere mediocrity; whether by the bizarre interpretation (I have seen Julius Caesar with explicit sex and sexual assaults and two murders before Caesar was even stabbed) or by the ineptitude of those involved with the production. Equally so if the producer’s reason for choosing a play by Ibsen, Shakespeare, Chekhov etc is “because I like it” then this not only shows no originality or ambition but can often lead to below par productions.

Thankfully this production of Hedda Gabler falls into neither of the above categories. If anything, good productions of old plays will at least remind us how good they in fact are. Alternatively, this choice of play gives new talent an opportunity to hone their skills and feel part of the immense history of theatre by challenging themselves to boldly go where many a famous actor has gone before. And why the hell not! In this production everyone involved had a damned good crack at what they were supposed to be doing.

Firstly, credit has to go to the director Mya G Kelln for her choice of play and for her attempt to push the cast to do something she felt would be difficult. The size of the stage coincided well with the themes in Hedda Gabler. The balancing of cast members on a narrow podium crammed them together and this physical intimacy was counteracted by them delivering their lines out into the audience but rarely to each other except in the most intimate of instances. This could be seen as a metaphor for repression, their hidden motives, anxiety, fear of intimacy, deception, any one of a number of Freudian psychological issues and a whole host of other imaginings that the audience was encouraged to read into this version of the play.

Props were for the most part not there, which made the limited set uncluttered. Its two chairs and a table were used to the maximum, showing not only a variety of locations but at times being used to display Hedda’s obsessive and fastidious behavior. Hedda’s personal issues were not always clearly defined by the director but, as mentioned already, this was to allow the audience to think for themselves and apply their own interpretation. Nevertheless, Eliza Cameron gave us a multifaceted Hedda, at times slightly obsessive or moody at others angry frustrated and passionate.

Ellie Stones as Aunt Julienne Tesman displayed a starched deportment which would have been thoroughly typical of the age in which the play was written and made her performance stand out in this more modern version.

Charlotte Clements was equal to the tough task of playing Berta, Diana and the Coroner, giving each role a distinctive and unique feel. Jack Aldridge gave Jorgen Tesman an apologetic demeanor which contrasted well with his enthusiasm and focus when he portrayed Jorgen’s great passion, his work.

Lani Blossom Perry as Thea Elvstead was convincingly emotional without going over the top and was one of the better performances of the night; as was that from Bede Hodgkinson as Ejlert Lovborg who gave the role a focused intensity.  Olsen Elezi who played Judge Brack in a subtle conniving way that hid his true intentions was also excellent.

Though this production gave us nothing profound or new it did show accomplished performances by much of the cast. All I can add by praise and encouragement is to say keep going, do more plays that challenge you and finally to the director, go with your instincts, never believe what you are doing is wrong. “It’s judgement that defeats us”.

I think I have to end by thanking the cast for stealing their review space to express my opinions but why do what has been done before? Unless, as in this case, you intend to do it very well.

Written by Henrik Ibsen

Directed by Mya G Kelln

Lighting Design by Jacob Hirschkorn, Intimacy Co-ordination by Elektra Birchall, Co-produced by Maisie Allen & Mya Kelln, Sound design by Mya Kelln.

13^th Night Theatre Company

Box Office https://www.breadandrosestheatre.co.uk/

Reviewed by Robert McLanachan

As an actor, Robert has performed in many fringe theatres in London playing leading roles in plays by Noel Coward, Oscar Wilde, Neil Simon, Chekhov and Moliere. He has also written and acted in performances at The Old Vic and Young Vic.