Hedda Gabler’ – Written by Henrik Ibsen. Directed by Danielle Fauteux Jacques. Stage Management by Kaleb Perez-Albuerne; Costume Design by Elizabeth Rocha; Scenic and Sound Design by Joseph Lark-Riley; Lighting Design by Danielle Fauteux Jacques. Presented by Apollinaire Theatre Company at Chelsea Theatre Works, at 189 Winnisimmet St, Chelsea, MA. through March 16th
By Charlotte Snow
“One cannot always be mistress of her thoughts.” Hedda Gabler slyly confides to her aunt-in-law, who counters with, “That is the way of the world.” In that exchange, the play seems to unite all its core questions at once. “What is the source of our suffering and vices?” “Is it written in the stars or in the unwritten rules of society?” “Are we our own internal darkness?” “Or is it a separate entity latched onto us that must be ignored, cut out, or tamed?” Only a moment is needed for Apollinaire Theatre Company to establish that this play will be a thought-provokingly moody masterpiece, even if it will take a few scenes before the plot’s mystery to develop (and unravel).
Figuring out the ‘how’ and ‘why’ behind Hedda Gabler is incredibly satisfying. George and Hedda Tesmund (the daughter of the late General Gabler) have returned to their villa after a six-month-long honeymoon. It is clear to all who visit the happy couple that only one of them is happy and that Hedda loathes George. We learn that marital dissatisfaction abounds in Hedda’s social circle, but it’s how she specifically deals with her own turmoil – debauchery, scandal, and blackmail – that drives this work.
Norwegian playwright Henrick Ibsen is known for many things: being the father of modern psychological drama, writing The Doll’s House (and its door-slamming ending), and hating August Strindberg. Ibsen changed the nature of theatre by straying away from the nineteenth century’s model of the well-constructed play. He kept the plot twists but undid the neatly tied-up endings and relied on subtext rather than direct address to cement characterization. With Hedda Gabler, Ibsen vigorously embraced the internal life of his female characters, making them heroines, and took great pains to insinuate that the restrictions put upon women of his day greatly wounded them and their psyche.
The role of Hedda Gabler is not dissimilar to Hamlet. It embraces many layers, and the rest of the play doesn’t work if the actor playing Hamlet (or Hedda) is lacking. Thankfully, but not surprisingly, Parker Jennings is a triumph as Hedda and a force of nature as an actor. She skillfully brings a rich inner life to the role while adeptly connecting with the other players. Jennings is a true revelation, and I cannot express how much of this play is dependent on her role, which she seemingly plays effortlessly.
The entire cast is well-rounded, able to meld with and sometimes play against the moody atmosphere. Other notable standouts include Cristhian Mancinas-García as the suave yet power-hungry Judge Brack and Joshua Lee Robinson as the erratic and muse-seized Lovborg, both of whom bring a rich understanding and personalization to their roles – along with a lot of impassioned moments with Jennings.
Director Danielle Fauteux Jacques brings a welcome stylization to the play that never abstracts or strays from Ibsen’s realistic sensibilities. Her lighting, along with the other elements of design, delivers a dreariness to the world that never feels slow or draggy. A cloud of unease and uncertainty hung above the audience that didn’t dissipate until the curtain fell. The choice to leave the actors sitting against the perimeter of the space seemed a bit off, and their watchful presence never added much to the storytelling. However, I became so engrossed in the drama that I eventually forgot they were there.
The Apollinaire Theatre Company took great pains to warn the audience ahead of time of the gun-shot sound effects featured in the production, which was greatly appreciated by this reviewer. Despite reading the warning sign in the lobby and the note in the program, I still shrieked when the first shot was heard. The lack of advisory around the depictions of sexual abuse and suicide, however, was more problematic, especially considering that these acts of violence are in the last moments of the show, leaving one to wonder if they were employed for their shock value. I imagine this was more of an oversight rather than a calculated move, leaving a tiny blemish on an otherwise sublime production.
For tickets and information, go to: https://www.apollinairetheatre.com/
