Ibsen’s theatrical masterpiece takes a new turn through this loose adaptation starring Antonia Thomas. Guillermo Nazara shares his views on the show, to let us know if this adaptation of the literary classic actually sticks its guns.
I want for once in my life to have power to mold a human destiny. It’s funny how many time out wickedest desires are the easiest to come true – though not particularly in the way we hoped for… or could have benefited from. The myth of Hedda Gabler has infatuated both audiences and creatives since Ibsen first brought it to the stage over a century ago. A story of resentment, lust and personal destruction, the attempts to retell this canonised masterpiece of literary realism have hung over every possible branch of fiction throughout its 150 years of existence.
A new season brings a new try. And with it, Hedda returns as a character within a character – in a plot within a plot. Shooting Hedda Gabler, by Nina Segal, takes the role to a contemporary stage through, however, a traditional narrative of Hollywood shambles. Presented as “a paradox of privilege and powerlessness”, the part is transformed into the person behind the role – a former child actor and current American film sensation, whose personal life (and happiness) have been shattered by the curse of success. In a last desperate effort to run away, she travels to Europe to play the lead in a reputed Norwegian director’s (and sociopathic genius) next project – only to discover she’s just thrown herself deeper into her own pit of destruction.
A classic plot of actors drawn to madness by their own art, the daunting task of carrying out something refreshing and innovative despite its overused premise should still allow for some interesting possibilities. Sadly, this play does not explore (or tinker with) any of them. Using some of the core elements that served as the foundation of Ibsen’s masterwork, this loose adaptation tip-toes on its cornerstones without building a proper structure to either stand or rise above. Reenacting several moments from the original play, the script nonetheless fails to transport us to any of the conflicts we’re supposed to be a part of, lacking rhythm and a bit of content throughout both their development and often abrupt resolution.
Directed by Jeff James, the montage does offer some entincing visuals combining figurative depictions with more abstracted portrayals, but their blend does not seem to coordinate on too many occasions – offering us more of a shallow overlook instead of allowing us to dive into the character’s crumbling psyche. On the other hand, many of the performances fail to bring out too much emotion and, all in all, connection with the viewer – usually feeling restrained and too orchestrated, unable to provide the necessary honesty a narrative this extreme imperatively requires.
Parting from a good and genuinely promising idea, Shooting Hedda Gabler still has to find the path it wants to take, instead of mixing too many angles that, contrary to help defining it, only makes its essence more blurred. A story about life becoming the prison of our true freedom, the piece is yet to accentuate more sympathy towards its lead’s plight – so it can be relatable and, at the end of the day, accesible to us as viewers. Drama is what makes people fascinating. But for that to happen, you’ve got to make it human.
All pictures credit to Andy Paradise.
Shooting Hedda Gabler plays at Kingston’s Rose Theatre until 21 October. Tickets are available on the following link.