Play Review: ‘Hedda Gabler’ at the Studio Theatre

The University of Alberta drama department premiered its production of Hedda Gabler (version by Patrick Marber) on October 8. The reworked version, directed by Giulia Romano, introduces audiences to a world of complex characters while adding its own twist. 

The original play, by Henrik Ibsen, is a well-known classic. Hedda (Charley Fruitman) finds herself in a loveless marriage and longs for more beyond her seemingly perfect life. Boredom and unfulfillment cause her to pursue drama and mess with those around her. 

But Romano adds a special spin: subverting the canon by adding elements of queerness. Eliert Lövborg (Maya Wright) is reimagined as a woman in this rendition. And because of Lövborg and Hedda’s past romance, their interactions are filled with tension for reasons beyond the obvious complication of Hedda’s marriage.

There really are few lines Hedda won’t cross to get what she wants. Something that Fruitman showcases perfectly. She accurately captures Hedda’s unpredictable and manipulative nature. Her dialogue delivery is on point as is her undeniable chemistry with her castmates.

Except for intentionally bad chemistry with her own husband, George Tesman (Aldrick Dugarte.) Dugarte plays a happy man in a marriage he is blissfully unaware his wife is opposed to. He is a pleasure to watch and executes humour at the right moments. 

Hedda is a little crazy, but with Fruitman portraying her, you can’t help but root for her until the very end. 

The entire play takes place in a luxurious apartment where guests come and go. Aesthetically, it creates an intimate atmosphere where characters are forced to confront their fears and desires. A fireplace in the background, alongside the domestic servant Berte (Matthew Sbrissa), helps create a comfortable bourgeois background which contrasts with Hedda’s inner unhappiness.

The main antagonist, Judge Brack, is brought to life exceptionally by Christopher Armstrong. He is manipulative and cunning while being undoubtedly effective at creating tension. 

While the play contains light hearted jokes and sarcasm (by none other than Hedda), things quickly get dark. Hedda encourages Lövborg to take her life, and then soon does the same once realizing she is trapped and has lost all control over her life.

The play then abruptly ends. With no room for closure or to tie up loose ends. It leaves you feeling oddly sorry for Hedda – the woman who caused her own demise – and in shock at how quickly she attempts to regain agency. It’s almost therapeutic to see an onstage character so liberated, and behaving in socially unacceptable ways. Yet everything Hedda does in the end is true to her own desires. 

Even if you know nothing about the original Hedda Gabler, you will leave Romano’s production wanting to dive into the original script. Every moment is filled with compelling performances and the plot moves forward quickly. It’s chaotic, messy, and an incredibly fascinating time.

Hedda Gabler is playing at the Timms Centre for the Arts at the University of Alberta until October 17.