Hedda Gabler

I thought all Russian and Scandinavian plays were mind- and bum-numbing until I saw this very accessible, enjoyable production.

Credit goes to the director for astute casting of a handsome-looking company who acquitted themselves professionally under her guidance. Deceptively simple screens (Brenda White and Gilly Graham’s creation) provided an effective set.

Kristi Gregory established her Hedda as a villain from the outset. She is dissatisfied with her new husband, George Tessman (beautifully portrayed by Chris Vaag), recently awarded a Doctorate that should secure him a high-ranking job. But Eilert Lovborg, a friend with whom both Hedda and George grew up (Tristan Ozinga – as impressive as a recovered alcoholic as the backslider to which he sank ignominiously), has written a successful book and already has printer-ready manuscript for a sequel is main competition for the job.

Hedda dreams of a higher social station in life, and knows that Judge Brack (portrayed with nice light and shade by Ralph Porter) will decide who gets the position. He is an old friend with poorly disguised lustful interest in Hedda.

What a splendid thriller plot! Elegant Sophie Goto (a memorable performance as Hedda’s down-at-heel confidante, Thea Elvsted), Sharon White (George’s aunt, Juliana Tesman), and Gilly Graham (Berta) all impress in minor roles.

Backstage factotum, Phil Carney, chose appropriate Grieg piano music to link the scenes, and looked after the lighting. A damn good night out!

Jay McKee