Review: HEDDA GABLER, Reading Rep Theatre

Henrik Ibsen's Hedda Gabler has been a vehicle for many actresses to show off their dramatic chops. But when you have Diana Rigg, Ingrid Bergman and Ruth Wilson previously inhabit the titular role, it's easy to see why. Often dubbed "the female Hamlet," Ibsen's titular story breathes new life in Harriet Madeley's queer spin premiering at Reading Rep.

Instead of 1890s Norway, we're transported to 21st century England with Hedda Gabler married to author George Tessman. Moving into their forever home after a six-week honeymoon, Hedda is already bored of playing the perfect wife as her husband FaceTimes his doting Aunt Jules about their not-so-subtle housewarming gifts. "I wish my life was bigger" Hedda laments, as faces from her past lead her down a path of self-destruction.

Harriet Madeley's biting, tense and funny script stays true to Ibsen's spirit while providing a sobering reminder that while things have progressed for women's autonomy today, the patriarchy still says her ultimate dream is a heteronormative one: find a good man, marry him and bear his children. Directed brilliantly by Annie Kershaw, the choice to switch Hedda's ex-lover from male to female introduces a new conflict. Internalised misogyny and homophobia now prevent Hedda from expressing her real desires, further explaining her contempt for the institution of marriage.

The cast is led by a phenomenal Anna Popplewell (The Chronicles of Narnia franchise) in her theatrical debut, showing Hedda plan each machination through the subtlest of facial expressions. Dressed in a structured jumpsuit by Fran Levin, Popplewell brings coldness and fragility as Hedda revels in what little power she has, leading to a heartbreaking climax once she lets her facade crumble.

Amy Watts' set design gives us permission to empathise with Hedda's unhappiness. Fitting well in Reading Rep's intimate auditorium, it's a relic of traditional womanhood. A living room with PVC drapes reminding us of a cage as the characters walk on pink carpeting past Hedda's beloved piano, left to collect dust. A small island centre stage keeps her both in power and confined. It's in Murong Li's technicolour lighting and Jamie Lu's pulsating sound design where we get freedom, rage and passion, used evocatively when characters express their innermost selves into microphones.

The rest of this five-piece ensemble is brilliant. Jessica Temple is captivating as George's writing rival Isla (formerly Eilert), challenging Hedda's manipulations before a tragic relapse into alcoholism. Mark Desebrock is well-meaning if inattentive as George Tessman while Natalie Perera turns neurotic school friend Thea into a sympathetic figure as she worries for Isla's wellbeing. Last but certainly not least is Ryan Gerald as publisher Brant, starting as a friend and ending up a match to Hedda with great intimidation.

Sexy, fresh and captivating, this striking adaptation of Hedda Gabler is needed in today's slow moving attitudes towards female and LGBTQIA+ acceptance. Led by a wonderful cast who immerse you into their limited world, you will leave the Reading Rep with much to think about whether or not you're familiar with Ibsen's original text.

Hedda Gabler is at Reading Rep Theatre until 11 March

Photo Credit: Harry Elletson

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