FringeReview UK 2025
Hedda
Orange Tree Theatre
Genre: Adaptation, classical, Drama, Feminist Theatre, Mainstream Theatre, New Writing, Theatre, Tragedy
Venue: Orange Tree Theatre Richmond
Festival: FringeReview UK
Low Down
Set in a post-war, post-Indian Independence Chelsea of film producers, screenwriters and former actors, in 1948, Tanika Gupta’s Hedda directed by Hettie Macdonald runs at the Orange Tree till 22 November.
A classic reframing of a classic
Review
When Gabler turns Garbo and retires, why, and can she come back from that? Yes, and maybe. Set in a post-war, post-Indian Independence Chelsea of film producers, screenwriters and former actors, in 1948, Tanika Gupta’s Hedda directed by Hettie Macdonald runs at the Orange Tree till 22 November.
Gupta’s reframing of Ibsen’s tragedy of a woman born before (and after) her time, is brilliantly re-imagined in a film culture steeped in racism; where white characters drop obscene remarks unblinkingly. Merle Oberon was just one actor who found it necessary to hide her biracial Anglo-Indian heritage in an industry forbidden to people of colour or ‘mixed-race’. No-one understands why Hedda recently quit. She fears the studios might suspect her origins; yet longs to return.
Hedda (Pearl Chanda) is as chilly, manipulative yet as agonisingly bored as her original. Here though her motives are clearer, and her fragility as ‘passing’ achingly present. Her relation to the three men, moustaches stiff-pencilled as their prejudice, reflects how this closeness to Ibsen extends to all characters. There’s now a classic, almost Sophoclean lucidity of outline; the play lasting two hours fifteen with interval, rushes compellingly without an ounce of fat.
Ibsen’s original fascinates because of an ambiguous flaw that doesn’t allow Gabler to do what timid but ultimately courageous Thea Elfsted does: leave her husband and reputation. Here, Thea’s avatar Alice (Bebe Cave, squirming innocently with the quandaries of love, abandonment and freedom) makes less impact in her decision in 1948 than 1890. And she hasn’t Hedda’s gnawing secret. Nevertheless scenes between Cave and Chandra are potent for bullying and backstory (indeed hair-pulling is back, historically in the film studios where Hedda largely destroyed Alice’s career). Alice’s dog-like devotion to stardom blanks all this, just as class did in 1890. Alice has ties with two male characters, ratcheting up Hedda’s jealousy.
There’s a deeper relationship to be explored with maid Shona (Rina Fatania) whose adamantine certainties and wise saws have influenced Hedda over the years, even though Shona (quoting Tagore or proverbs to blank westerners) calls Hedda “spoiled”. Had this been explored, you feel Hedda’s quandary might have softened. So Gupta repurposing a character so acutely present as rendered by Fatania, is presented with the quandary of developing or sharply outlining. With time and hurtling conclusion, she opts (frustratingly but understandably) for the latter.
Simon Kenny’s set plushed with white carpets and chrome-tubed chairs and a sofa, seem cutting edge Bauhaus for 1948. It’s exactly what’s needed, with a curtain numinous at one door where Hedda worries about sunlight on skin. These opening moments where Ben Ormerod’s lighting scorches two orange lines diagonally above suggest an India travelled from. Below all but Shona are garbed in Sheena Napier’s rations-swerving Parisian chic; particularly Chandra in burgundy and other dresses. Pouya Ehsaei’s sound and composition hovers between two worlds.
“There is no hand to catch time” says Shona mysteriously, when quizzed about her youthfulness. It’s a quizzing couched in casual racism. Aunt Julia (Caroline Harker) in the slightest role, manages to both voice racism yet sound touchingly bewildered in her realising that India was home, that she’s now effectively homeless. Her pitiable status is lost on Hedda, amused at how George still dotes on her.
George Tesman (Joe Bannister) is still that irritating mix of naiveté, chauvinism and Labrador-like gratitude as his academic original. Though dropping racisms his transformation as an unthinking Englishman is complete: as Shona memorably puts it: ”a terrible, pedestrian director… and he despises me… a first-class donkey.” Shona at least gets some of the best lines and there’s more comedy here than the original. Now George’s “dull propaganda films” have to compete with more exciting fare. There’s fear that former RAF ace turned drunk Leonard (Jake Mann, shiveringly poised between nobility and abject self-harm) might steal a march with his script. With reveals from his and Hedda’s past. Milo Twomey’s film producer John Brack holds all the cards, though none yet on Hedda. Twomey’s suave, at most lightly menacing producer closes in, weighting his voice with anticipation; as Alice and George pore over scraps and memories, oblivious to the film star. A denouement surprises to the final second.
This Hedda truly intensifies the tragic cul-de-sacs confronting Hedda, and her reactions aren’t entirely Ibsen’s. Perhaps they’re more satisfying. Minor caveat aside, this is a classic reframing of a classic, and a savage indictment of an aspect of culture still skated over. Consummately acted, it deserves a swift revival. Outstanding.
Helena Palmer CDG, Fight Director Ruth Cooper-Brown of RC-Annie, Assistant Director Tara Jamora Oppen, Costume Supervisor, Ciéranne Kennedy-Bell Casting Director Hair & Make-Up Consultant Holly Crewe.
Production Manager Sean Laing, CSM Jade Gooch, DSM Thomas Manly, ASM Irene Saviozzi.
Production & Technical Director Phil Bell, Production Technician Andy Owen Cook, Production Technician Priya Virdee.
