Review: Hedda Gabler

My last theatre visit of 2016 was a trip to the National for Hedda Gabler. After an epic year, for me, in performances, it had a lot to live up to.

Hedda Gabler, widely acknowledged as Ibsen's masterpiece, is rarely out of performance, so the question was: what could a new production by the National Theatre bring to such an oft-performed, well-known play?
The answer, when it's in the hands of superstar director Ivo van Hove, turns out to be quite a lot.

Ruth Wilson, as the lead, offers a new angle on the play, which itself is a new translation by Patrick Marber. Her take on Gabler is mercurial throughout: in some ways incredibly sympathetic, in others the direct opposite, and Wilson is masterful in her ability to balance all of the extremes required by the title role. Even for those familiar with the play it is a surprise how each next line will be delivered, such is the volatility of Wilson's Gabler. The Hedda in this iteration is dangerous, but is so because she doesn't know how to be content in and of herself. Rafe Spall as Brack, meanwhile, knows exactly what he wants, and wields power in a way that brings a leering confidence to clash with Wilson's Hedda, whilst Kyle Soller as Tesman is not the dull, ageing academic one might expect.

The set design, by Jan Versweyveld, creates a sparse, unfinished living space for the Tesmans to inhabit, which very much fits with the tone of the piece. This fairly simple staging is brought to life, however, by some very clever lighting design, which warms, shifts, and then is blocked out as the story progresses. The design work overall is skilful, and helps realise the trap that Hedda Gabler creates for herself, which ultimately proves to be her downfall.

This version of Hedda Gabler is captivating. The understated but genius attention to detail
 makes it impossible to look away, even if you find yourself banging heads against the idea of womanhood the play suggests. The National have rounded of a blockbuster year in some serious style.

4/5 - Subtle, compelling, and complex: truly a Hedda for our times.
The Lyttelton, National Theatre until 21st March