Review: Hedda Grabs Ya... For A While

"You're up to something, Hedda!" Of course that gun-slinging, gossip-spinning, fiery female is up to something! But somewhere between its thrilling first and fourth acts, ACT's production of Henrik Ibsen's Hedda Gabler may lose that necessary "something" in the infamous scheming.

Expecting certain poise for Ibsen's heralded 1890 piece, the delivery of Paul Walsh's crisp and modern translation may lose its punch and some patrons' attention mid-show. "Is that a glacier? A hen-house metaphor? Oh wait, someone just died!"

Yet for good reason, Hedda Gabler has been the highly-anticipated fourth show in ACT's landmark 40th season. Splattered with a phenomenally talented core company, Hedda hardly disappoints. Beside Medea and Mama Rose, Hedda is known to be one of the most coveted female lead in theatre…a role sublimely embodied by the ever-impressive René Augesen.

The curtain rises upon a brilliantly designed set by Kent Dorsey. The Tesman's living room – bedecked in blue curtains and cushions – is accented by the nakedness of three-level scaffolding framing the stage. Down flies the back wall, made prison-like with rows of taunt vertical rope. While the characters hurriedly race and chase each other over-head along the metal catwalks, John Gromada's sharp original music stabs the air.

Newlyweds Hedda and Jorgen Tesman return home from a six-month honeymoon; and Hedda is bored out of her mind! Despite the financial risks Tesman has endured to please his wife (buying a pricey home on the hopes of earning a professorship), Hedda finds it more entertaining to play with fates and fire-arms. Things get ugly when bad-boy Ejlert Lovborg comes back to town, threatening Tesman's position with a winning book and cured reputation. With threads of trust, secrets and vengeance, Hedda weaves a wicked web trapping herself and everyone around her.

Augesen's Hedda is delightfully disagreeable. She paces her house like a caged beast, with hunger pains appeased only by feasting on bloody scandal and the suffering of others. Every question or remark is a poke, a jab, a test to tweak the slightest nerve. Augesen's movements are stirring: recoiling at the touch of her husband, jumping impulsively from pawn to pawn. Augesen creates a splinter in gentlewoman's clothing. You can't take your eyes off her!

Anthony Fusco as Jorgen Tesman is gentle and rollicks in boyish academic innocence – a compelling opposite to Augesen. Fusco is most enjoyable opposite Sharon Lockwood (as his Aunt Julie). Lockwood charms in her polite prodding for another member to the Tesman family, and is a light during tense moments.

Finnerty Steeves as Thea Elvsted, Hedda's former schoolmate and assistant to Eljert Lovborg, is rightly timid; moved more by the action of the others on-stage. Steeves – whose Thea is "not used to goodness and kindness" – gains audience sympathy early.

Turner is not entirely convincing as the reformed sinner, Lovborg; his entrance is heavy, almost barking lines. Turner unleashes Lovborg's lust for Hedda unabashedly, somewhat contradicting the later questions of Hedda's "power" to make him admit his private affairs. Turner heats-up after intermission, especially fueled by the audience's resounding gasp! as Hedda turns the tables on his fate.

Richard E.T. White's staging is fluid and important. His direction perceptively encapsulates Ibsen's tale of wicked womanhood and oozes the warnings of power and the consequence of being at the mercy of others. Despite the somewhat conveyor-belt feel of dialogue pre- and post-intermission, ACT's Hedda Gabler is downright dirty and delicious.

Imagine…all this fuss over a hat, pistols, and piles of paper!

Hedda Gabler: by Henrik Ibsen, directed by Richard E.T. White, translated by Paul Walsh, at the American Conservatory Theatre through March 11, 2007. 2hrs, 25mins with 1 intermission. Tickets ($17.50-$81.50) are available at 415-749-2228 or www.act-sf.org. ACT Ticket Services is located at 405 Geary Street at Mason in San Francisco. Photos by Ken Friedman.

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