Poor Little Rich Girl

Hedda Gabler

It’s always interesting and kind of fun to shake things up a bit, especially with a well-known play. When a time-honored drama is adapted and produced in a fresh, starkly different style, it earns our attention. But when the drama is a groundbreaking classic that’s stood the test of time, a brand new interpretation can be a little risky. If the writer is able to offer new insight into the original work by updating it, then it makes sense to craft a new adaptation. Otherwise, it seems like merely showing off. 

In 2009, Christopher Shinn’s adaptation of HEDDA GABLER opened on Broadway, produced by the Roundabout Theatre Company. First performed in 1891 in Munich, Norwegian playwright Henrik Ibsen’s drama has always raised a few eyebrows. But this new, contemporary-toned adaptation seems like it’s much more interested in being accessible to modern day audiences than exploring the play’s psychological themes. Ibsen’s drama has often been adapted and new versions continually spring up everywhere. I recall seeing an earlier Chicago production that included original songs, but that presentation wasn’t any more illuminating than the original.

Artistic Director Marti Lyons has taken up the challenge of staging this new version of HEDDA GABLER in a production that’s both understandable and engaging. In this she’s succeeded in her mission, and Ms. Lyons’ production is definitely provocative and certainly entertaining. But for the Ibsen purist, this just isn’t the same play. HEDDA GABLER is heralded as a masterpiece of literary realism, 19th century theatre and world drama in general. Thankfully the production at Remy Bumppo is shorter and understandable, but Christopher Shinn’s adaptation simply comes off as glib and a little urbane. 

As in A DOLL HOUSE, Ibsen’s other famous feminist drama, which was also radical for its day, the focus of the story is on a woman whose back is up against the wall. In that play, Nora finds herself in an unbearable marriage, but who makes the decision to simply walk out the door. Hedda’s in a similar situation but can’t possibly consider doing that. If she walked out, Hedda would be the subject of gossip and would no longer be a lady of leisure and luxury. Poor little rich girl—what can she possibly do instead? 

We learn that the spoiled little Hedda has a history of making bad choices. For instance, she only married Jorgen Tesman  because she could no longer hold onto the unreliable, often inebriated writer, Ejlert Lovborg. So Hedda decided to settle for Tesman because, as she says, “It was time.” But, returning from their boring, six-month honeymoon, Hedda realizes her mistake because the man she married is a real stick-in-the-mud. Then, after Hedda commits a serious crime that could get her arrested, and her one true love dies a scandalous death, she can see no way out of her situation. Her insipid husband has turned his attention to her scholarly friend, Mrs. Thea Elvsted, in order to write a book (how humdrum!). Then Judge Brack, an older friend with whom she’s often flirted, blackmails Hedda to be his secret mistress (Hiss! Boo!). Finally, Hedda decides to use the pistols her daddy gave her to simply leave the world behind. 

Despite Christopher Shinn’s disappointing, far too modern take on Ibsen’s drama, Marti Lyons has assembled an excellent cast and directed a production that’s interesting and entertaining. Aurora Real de Asua is simply stunning as Hedda. Not only strikingly attractive, just as the other characters describe her, Aurora has a kind of charisma that draws attention to everything she says and does. She primps in the mirror, pouts when she doesn’t get her way; then her Hedda bursts out with sudden, loud declarations that make her look and sound like a spoiled teenager. Enjoyed in THE WICKHAMS at Northlight, THE WOLVES at the Goodman and PLANTATION at Lookingglass Theatre, Aurora Real de Asua is definitely one of the best reasons for taking in this production.

But her cast mates are equally splendid. Eduardo Curley is the consummate Jorgen Tesman. So excellent in Remy Bumppo’s productions of ART and ANNA IN THE TROPICS, Mr. Curley captures the all-embracing essence of Hedda’s clueless husband. He portrays Tesman, a professor-wannabee and the author of a mundane book about culture, as a conservative gentleman who’s very proud of having wed the town local beauty and only wants to spoil her every whim, regardless of cost.

Another topnotch actor in this production is the always remarkable Annabel Armour, as Tesman’s elderly Aunt Juliane. She flutters around the drawing room like a hummingbird, so concerned with being welcoming and socially acceptable during every occasion. Lovely Linda Gillum brings strength and an understated sense of appraisal and judgment to her portrayal of Berte, the head domestic in the Tesman house. Gloria Imseih Petrelli is competent and compelling as Mrs. Elvsted. Seen recently at Lookingglass Theatre in IRAQ, BUT FUNNY and in Raven Theatre’s production of A LIE OF THE MIND, Ms. Petrelli is a gifted actress who always makes powerful character choices and creates strong impressions onstage, especially in this role. 

Greg Matthew Anderson, who’s theatrical talents have been enjoyed all over Chicago, has appeared at Remy Bumppo in such diverse productions as THE IMPORTANCE OF BEING EARNEST, FRANKENSTEIN, BORN YESTERDAY and LES LIAISONS DANGEREUSES, among many others. He makes his portrayal of Judge Brack, the subtly despicable cad, in a way that Ibsen, no doubt, intended. We observe his oily machinations early in the play; but it’s in the drama’s eleventh hour, in a private moment with Hedda, where Brack shows his true colors. And handsome Felipe Carrasco takes over the stage with each appearance. His animal-like characterization of temperamental writer, Ejlert Lovborg, makes this man the “bad boy” type to whom women are supposedly drawn. His overt attentions directed at Hedda, and even to the more reserved Mrs. Elvsted, tells us everything we need to know about this despicable man.

Kudos to Joe Schermoly for his exquisitely stylish scenic design. He’s made the intimate Theater Wit venue seem spacious with his expansive drawing room setting. And Kotryna  Hilko’s beautifully designed costumes add one more layer of authenticity to each of the seven characters. Ms. Hilko’s choices in fabric and palette play so well together. Her subtle use of red, accenting the muted color spectrum of the other costumes, foreshadows the tragic events that come at the end of this play. And, as always, the original music and sound design by talented Christopher Kriz makes this production something extra special.

Marti Lyons notes that the character of Hedda Gabler has always been controversial. It’s true. Critics can’t decide whether the main character is entitled or enslaved, immoral or innocent. While Remy Bumppo’s fine production is well-cast, impeccably directed and enacted and artistically supported, it’s difficult to appreciate the production as it was originally intended. Christopher Shinn’s 21st century adaptation of Henrik Ibsen’s HEDDA GABLER, that’s based on Anne-Charlotte Hanes Harvey’s literal translation, is a little too slick and smooth-spoken. All we have for 90 uninterrupted minutes is a drama about a spoiled brat—a poor little rich girl—who theatergoers may want to put in a timeout. And maybe, for today’s audiences, that’s enough.            

Recommended

Reviewed by Colin Douglas

Presented February 8-March 8 by Remy Bumppo at Theater Wit,  1229 W. Belmont Ave., Chicago.

Tickets are available by calling the box office at 773-975-8150 or by going to www.theaterwit.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.