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Ruth Wilson brings van ring copy a thrilling volatility to Ibsen's portrait of a soul in crisis
Henrik Ibsen's Hedda Gabler is one of the great portraits of a soul in crisis, and Ruth Wilson brings a thrilling volatility to its title role. She captures the boredom and reckless verve of a passionate woman who rebels against the numbness of a stifling marriage, spots vulgarity unerringly yet dreads the prospect of scandal.
Director Ivo van Hove, who uses a crisp yet somewhat colourless new text by Patrick Marber, sets out to make this frequently performed play seem unfamiliar. Instead of locating it in a readily van cleef and arpels butterfly ring copy recognisable setting, the arrestingly lit design conjures an impression of institutional coldness.
Hedda and her newish husband Tesman live in an apartment that resembles a vast box its most striking features a distressed piano and an oddly inefficient intercom system. The only way characters can get in and out of the couple's home is by traipsing through the auditorium. This heightens our awareness of Hedda's confinement, as if she's a strange object put on display for connoisseurs to come and examine.
Some of van Hove's choices are heavy handed. For instance, we hear Joni Mitchell's song Blue four times, a rather obvious theme tune for a vision of melancholy soul searching. And when Hedda shreds several handsome bouquets and uses a staple gun to fix van cleef and arpels engagement ring copy the stems to the wall, the gesture feels laboured.
Yet, crucially, there are rich performances throughout.
As for Ruth Wilson, she knows how to smile in a dozen different ways, and her Hedda is sharply attuned to the ridiculousness of the world she inhabits. She can be ferociously dynamic, punching the air after a moment of extreme destructiveness.
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Henrik Ibsen's Hedda Gabler is one of the great portraits of a soul in crisis, and Ruth Wilson brings a thrilling volatility to its title role. She captures the boredom and reckless verve of a passionate woman who rebels against the numbness of a stifling marriage, spots vulgarity unerringly yet dreads the prospect of scandal.
Director Ivo van Hove, who uses a crisp yet somewhat colourless new text by Patrick Marber, sets out to make this frequently performed play seem unfamiliar. Instead of locating it in a readily van cleef and arpels butterfly ring copy recognisable setting, the arrestingly lit design conjures an impression of institutional coldness.
Hedda and her newish husband Tesman live in an apartment that resembles a vast box its most striking features a distressed piano and an oddly inefficient intercom system. The only way characters can get in and out of the couple's home is by traipsing through the auditorium. This heightens our awareness of Hedda's confinement, as if she's a strange object put on display for connoisseurs to come and examine.
Some of van Hove's choices are heavy handed. For instance, we hear Joni Mitchell's song Blue four times, a rather obvious theme tune for a vision of melancholy soul searching. And when Hedda shreds several handsome bouquets and uses a staple gun to fix van cleef and arpels engagement ring copy the stems to the wall, the gesture feels laboured.
Yet, crucially, there are rich performances throughout.
As for Ruth Wilson, she knows how to smile in a dozen different ways, and her Hedda is sharply attuned to the ridiculousness of the world she inhabits. She can be ferociously dynamic, punching the air after a moment of extreme destructiveness.
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If you are Private Browsing in Firefox, "Tracking Protection" may cause the adblock notice to show. It can be temporarily disabled by clicking the "shield" icon in the address bar.
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