Ibsen's Hedda Gabler

Palindrome Theatre have taken on a sizeable challenge with this adaptation of Hedda Gabler. Fortunately, it’s skillfully pulled off.

Staying true to the spirit of self-deprecating 19^th century Scandinavian society, the cast deliver the story of the spoiled Hedda and her unhappy marriage in a minimalistic style, allowing the audience to see the faithful turns of her life instead of fussing over complicated/outdated set design.

Hedda Gabler is one of Henrik Ibsen's masterpieces in which—as in many of his plays—an unconvential woman struggles to fit into her prescribed societal role. Keeping her boredom at bay by meddling in other people’s lives, Hedda fails to recognise her powerlessness when it comes to affecting her own surroundings, a shortcoming that ultimately spells the end for her.

Palindrome’s delivery is beautiful in its simplicity. The cast are a collective force on stage, and it’s a true joy to watch actors who fit so well together. Nathan Osburn deserves special mention for his apt interpretation of Hedda’s jittery and dull husband George Tesman, who pays more attention to his library than her labium and leaves her to wallow in self-induced isolation and dusty memories.

This is a solid production which will appeal to Fringe-goers looking to dispel the myth that "things were better in the old days". In Ibsen's world, we're all a bunch of depressed loners too scared to show our emotions and too angry to let anything go.