Review: Antaeus Appropriately Goes Out With a Bang With a Strong HEDDA GABLER

HEDDA GABLER/by Henrik Ibsen/adapted by Andrew Upton/directed by Steven Robman/Antaeus Theater/thru July 17, 2016

Steven Robman's strong hand at briskly directing his very talented ensemble at a snappy pace makes this updated 19th century classic whizz by in its two-hour-and-twenty-minute length. Victorian values seem right at home in the modernization/adaptation of Antaeus' production of HEDDA GABLER, a drawing room concoction of misdirected/misguided affections/attractions/lusts. The only 'value' outdated (and not updated) would be the comment of showing of too much ankle from the women. (Hedda shows off her legs and bare shoulders.)

Who knew Hedda Gabler was such a BITCH! As beautifully limned by Jaimi Paige, her Hedda's the original Mean Girl. A bully in high school, she threatened to chop off the beautiful, long blonde locks of her classmate Thea. Alluded to a then life-or-death incident between Hedda and Lovberg, each (in present day) wishes the fatal shot had been taken. At the appropriate age to wed, Hedda allows herself to marry - not for love or passion - Tesman, an ambitious historian/professor who promises her everything she wants (except for excitement and danger). Hedda disparages Tesman's Aunt Julle's new hat and consistently berates the family maid Berte. Hedda manipulates everyone she comes in contact with whether they know it or not. A more horrid, despicable character you'll never find again, hopefully.

HEDDA GABLER begins with the newlyweds' return from their five-month honeymoon to their dream house bought, way beyond Tesman's current financial means. Adrian LaTourelle totally inhabits Tesman, the fawning, so-in-love, new husband who has yet to secure the professorship at a local teaching institution. LaTourelle convincingly exhibits Tesman's enthusiam, his overwhelmed nervous energy, his eagerness to please any and all of Hedda's whims, and his growing realization that Hedda's a lot more to handle than he thought.

Readying the newly acquired home, the family maid Berte and Tesman's Aunt Julle prep the final details before realizing the Tesmans had already arrived during the night. Amelia White's perfectly matronly as the doting aunt while Elizabeth Dennehy shines as the oh-so-efficient Berte.

Ann Noble embodies the naiveté and total innocence of Thea, the much younger wife of the town magistrate. Originally the nanny to the magistrate's children, he conveniently (for him) marries her after his wife died. Needing a tutor for the children, the magistrate takes a live-in writer/teacher Lovborg. In her 'spare' time, Thea helps Lovborg in creating his manuscript while falling in (what she thought was) mutual love. Daniel Blinkoff's a wonderful mess as Lovborg - part genius, part alcoholic. Blinkoff's involved in a clever reveal at the end of Act One. Two other very inspired touches include Berte the maid handling the props repositioning between scenes, and the final 'stage device' at the end. Three very memorable theatrical moments.

The charismatic and intriguing Tony Amendola commands the stage as the duplicitous Judge Brack, Tesman's comrade and probable reference for/entré to his desired professorship. His interactions with Hedda initially appear on even footing; but like a seesaw, one's advantage towers or falls below the other, and reverses. With Hedda and Brack being two 'villains,' who do you root for? Paige and Amendola make it a pleasure to keep switching sides.

In Antaeus tradition of double casting; one set of actors comprise the " The Generals" cast, another set the "The Pistols," and a combination from both form "The Fjords." This wonderful cast being reviewed: The Generals.

Kudos to scenic designer Se Hyun Oh for his country home (possibly Victorian) living room set with lots of flowing drapes and a window back-lit by Leigh Allen. Costume designer Leah Piehl keeps all the character's clothing in the same Victorian-esque period except for the shoulder and leg-baring shift that Hedda predominately wears.

Nice fitting punctuation as Antaeus' final production at their current Lankershim location before moving to their new Glendale home.

www.Antaeus.org

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