***RECOMMENDED*** "Are you alive?"
That line of dialogue is not directed at a character who may have been fatally wounded or in a comatose state, but rather to a young, supposedly healthy and eager fellow romantic. Simply living day to day, going through the same, monotonous daily routine cannot be considered living -- it is existing. To be truly alive, one must open themselves up to new experiences by stripping away their fears and then completely submerge themselves into the human condition. This is just one of the many valuable lessons to be gleaned from The Artistic Home's production of Henrik Ibsen's classic play "Hedda Gabler." In a punchy new adaptation by Mark O'Rowe, which feels both deferential to Ibsen's original text while also being extremely modern, several company members of The Artistic Home give credible performances under Monica's Payne's solid direction. 3.5 SPOTLIGHTS
Prior to 1891, when "Hedda Gabler" premiered in Munich, no character would have dared to be bold enough to ask another character the exact same question as listed above. It simply was unthinkable. But Ibsen, often considered to be the pioneering father of dramatic realism, changed all of that. His plays are filled with immense subtext, so pay close attention to the details here, particularly in the first act. However, this is not some stiff or boring presentation of a classic work. O'Rowe's translation finds abundant humor in the most unlikely places and the uniformly strong cast easily vacillate between light comedy and imminent tragedy. Ibsen, like Tennessee Williams some sixty years later, was a master of devising resoundingly powerful female roles. Hedda is one of the two of his most famous and well-known characters and Ibsen is credited with creating what has come to be termed the "anti-heroine."
Brookelyn Hebert, in the title role, adroitly tackles what some critics have called "the most intriguing female character ever created for the stage." Hebert is thrillingly confident as Hedda and her youthful demeanor marvelously masks the darker, more frightening inner world (and mind) of her character. After all, Hedda is an extremely complex and unpredictable woman, the only child of a strict military general. Her prize possession is a twinset of silver pistols given to her by her father and which she uses, recklessly, to practice her shooting skills and utilizing her frenemies as targets. With her penchant for desiring more and more material wealth and constant declarations of personal boredom, the role of Hedda can be a challenge for any performer. No one wants to listen to a spoiled newlywed complain endlessly about life (or the lack of it) in provincial Norway or care greatly about a woman who is most afraid of losing her status in bourgeoisie society or being dictated by societal pressures. Hebert, in a very winning portrayal, easily dispels caricature and endears the audience within 15 minutes of her entrance. It is a finely constructed and beautifully controlled performance.
Equally as impressive is Todd Wojcik as Tesman, Hedda's academic husband of six months. Wojcik matches Hebert in intensity but may benefit also from the fact that he is playing a much more sympathetic character. Clearly in love and devoted to Hedda, Tesman will do almost anything to make her happy, even if it includes meeting her every demand by purchasing a new, larger house which he can ill afford. Wojcik captures the scholarly persona of Tesman while also offering a somewhat desperate air as he awaits news of a possible promotion he feels that he is almost certain to obtain to help him cover his vast expenses.
John Mossman is perfectly lascivious as Judge Brack, a morally ambivalent and exceedingly manipulative character. This corrupt official is only interested in his own personal gains and Mossman masterfully takes his interpretation to the very edge of being creepy enough to just make you feel uncomfortable. Plus, Mossman gets to utter -- with an almost gleeful smirk -- the play's very famous final line.
Lynne Baker is marvelous as Aunt Julle, Tesman's adoring aunt who raised him since the age of six. Baker may have a limited role, but her two scenes contain pivotal information and sublimely bookend the narrative.
Back to the question at the top of the page. That line of dialogue occurs between Hedda and the promising young writer named Lovborg (Dan Evashevski) during an intimate discussion in the first act. As Hedda and Lovborg are easily and undoubtedly the two most emotionally vulnerable characters in "Hedda Gabler," it makes sense that their tete-a-tete includes the most honest, visceral and memorable moment of the evening. Hedda likens her marriage to being on a train, trapped in a compartment and unaware of one's final destination. Sadly, by the play's conclusion, we discover where these two lost souls have ultimately reached their journey's end.
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"Hedda Gabler" has been extended to March 30, 2025
The Den Theatre, 1331 North Milwaukee Avenue, Chicago, IL
Performance times: Thursdays, Fridays and Saturdays at 7:30 PM, Sundays at 3:00 PM
Tickets available at www.thedentheatre.com or by phone at 773-697-3830
More information at www.theartistichome.org
Run time is approximately 2 hours and 30 minutes with one intermission