Henrik Ibsen’s Hedda Gabler works best in its correct period, the 1890’s; but it is still interesting to see Ivo Van Howe’s radical updating and deconstruction. The play is no longer the familiar social drama Ibsenites know. There is a new translation by Patrick Marber and the production is existential. The stage is a huge space with bare walls and the sparse furniture is randomly placed. The actors make their entrances and exits from the stalls
Only Ruth Wilson’s thoroughly unpleasant Hedda is readily recognisable. The other characters have been completely rethought. Kyle Soller is a very boyish Tesman. Chukwudi Iwuji’s Lovborg is no Bohemian with vine leaves in his hair. Neither is Kate Duchene’s Aunt Julian a sweet old lady. Rafe Spall’s blackmailing Judge Brack is also much younger than usual and a thug.