Where: Old Vic
Why: Smith, Reid, Scarborough – can’t go wrong
10th September was the last night I could have a cheap
under-25 ticket at the Old Vic (or indeed any theatre with an under-25 ticket
offer) so I decided to make the most of this devastating occasion by popping in
to see their production of Hedda Gabler. Fundamentally, I really enjoyed it and
thought it was a fascinating version of the play, supported by a proper good
cast. My main issue was with the new translation by Brian Friel which at times
I just found infuriating. I did enjoy the comedic element that was brought out
in this version, and the small touches of it seemed natural and a welcome
addition to what has to be one of the most intense plays ever. If only it had
been left at that though.
The randomly added lengthy diversions about Tesman’s
slippers and later his mad (if hilarious) reaction to the news of Hedda’s
pregnancy were just a bit too obvious. I don’t think in the original that it’s
ever mentioned explicitly that she is pregnant, but it’s all sly hints and
guesswork, which is surely the point. Here it’s brought up super obviously
right from the start and it’s all too much, as if this becomes Hedda’s sole
motivation for ending things, which is not the case. Although important I think
it’s given too much weight in this version.
The main problem with the script (I’m aware I’m being
hilariously presumptuous but I say what I see) was just that a lot seemed to be
laid on the line and explained in thorough, unnecessary and inappropriate
detail, going pretty much against the entire point of the character of Hedda
and the nature of the play itself. The script has been described as
“heavy-handed” and not leaving enough to the imagination, which is absolutely
accurate. I don’t especially want Hedda Gabler chatting on about her deepest
psychological reasonings for her behaviour, essentially telling us all exactly
what’s going on in her head rather than letting it come out naturally. I didn’t
mind the explanation that she sometimes seems possessed by a devil, but that
line itself would have been enough, without a further five minutes of
soul-baring. Hedda just doesn’t do that. By the end, she becomes openly
hysterical and almost pathetic, when the point is that this should all be
bubbling under the surface rather than collapsed out on the lap of the
audience. That’s why Hedda is such a notorious part to play and requires an
actress who’s a master of complexity.
However. All this is not at all to say that Sheridan Smith
isn’t a match for the role. Very much the opposite in fact. What she does with
this sometimes stupid script is beautifully consistent and a presentation of a
lighter, more vulnerable Hedda. I’ve only seen the play once before, at a screening
at the V&A in March of the Eve Best and Benedict Cumberbatch version. That
was definitive and dark and I loved it. It’s also hard to compare to this
production (not only because I saw it on a screen rather than in real life) but
because the Best version was much more traditional. Smith’s Hedda hides and
shrinks, seems almost trapped, snapping and reacting to what’s happening to
her, rather than the more traditional approach of a strident, bold presence
rampaging around her cage which is how we see Best. Great to have seen both
interpretations though, and interesting to see the vulnerability that Smith
brings to Hedda which simply isn’t present in Best’s. Other reviewers have
pointed out Sheridan Smith’s eyes, and if you’re close enough to see them they
are enormously captivating and characterful. They pull you in and invite you to
stare into Hedda’s soul (again, not something you could have done with Eve
Best’s Hedda) – they literally sparkle not only with tears but in turn with
rage, malice, fear, frustration and laughter. She manages to capture and
demonstrate the real tragedy of knowing your own character all too well and the
inevitable pain that comes from that. Which I would say is the most important
part of Hedda Gabler’s personality and is why Smith succeeds at the role.
 |
| Sneaky stage photo |
The one benefit of the heightened comedy in this version is
the juxtaposition of the dark and light that comes across so effectively. The
crazed inappropriateness of Tesman’s delighted prancing at Hedda’s pregnancy
revelation so closely and uncomfortably followed by her tragic end is
representative of the nature of the entire play. The tension between the jokes
and the audience’s rising anticipation is impeccably done. We see this in the
way Hedda’s bright smile instantly falls from her face when she’s alone,
showing her two sides and the fact that in this play everything is about fate
and is constantly balancing on knife edge. There is constant movement in the
staging, everyone trotting through doors opening and closing them again (also
hinting at the secrets which are contained everywhere in the house) and the
disturbance shown in the dramatically billowing curtains. It’s very effectively
played and there’s a modernness to the movement and how they all fit together.
As mentioned, Smith is brilliant, but the rest of the cast
provide some great performances too. Adrian Scarborough is so funny as the
bumbling George Tesman, and the role (in this more comedic version) is ideally
suited to his subtly lovable style. I was also excited to see Anne Reid in the
(all too small) role of Auntie JuJu – she’s just such a quality performer and
greatly suited to the kindly dignity of this role. Fenella Woolgar as Thea was
also impressive and added so many more dimensions to this role. Her dramatic
pose facing directly out to the audience at the end clutching the notes of
Loevborg’s destroyed book is full of purpose and intent, and gives the
impression that there’s so much more to come in the story and makes you wish
there was a sequel. Daniel Lapaine as Loevborg was appropriately desperate and
confused, but Darrell D’Silva as Judge Brack wasn’t quite as dignified or
menacing as he could have been. The completely random addition of his love for
American jive talk didn’t really work at all, and didn’t seem to lend anything
in particular to us understanding his character any more. Time Out describe
this version of Brack as “about as sexually threatening as a cardigan” which
made me burst out laughing and is pretty accurate.
I love Ibsen’s portrayals of women taking control in the
only ways they know how or are able – as Nora in A Doll’s House leaves and
takes her destiny finally into her own hands, here too Hedda undertakes the act
of supreme control over her life in her (pleasingly gory) final act.
All in all it is an engaging and intriguing production and I
would heartily recommend you go. It’s worth it just for Sheridan Smith alone –
she really is supremely talented.
Brixpig x
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