The Magic of the Rabbit Hole

How The Old Globe’s Hedda Gabler sparked curiosity beyond the stage.

At first, my thought was, “Hedda is my introduction to this playwright,” since A Doll’s House has been on my bucket list forever, but I have yet to read it or see a production. Then, I was like “wait a minute” and remembered New Fortune Theatre Company’s Production of Public Enemy, also in an adaptation. Henrik Ibsen centered women in various plays, challenging traditions, patriarchy, and social norms, among other themes. The Old Globe and its artistic director, Barry Edelstein, embarked on an interesting exercise by commissioning playwright Erin Cressida Wilson (named after Shakespeare’s Troilus and Cressida) with a new adaptation of Hedda Gabler with a more contemporary vibe and freshened-up feel, as Barry shared in his Director’s Note on the show’s program. You know, dear reader, I love to read those. 

Hedda (Katie Holmes) is an aristocratic young woman recently married to George Tesman (Charlie Barnett). Although smitten with his wife, the academic is immersed in his work and travels, and is also a bit of a mamma’s boy toward his aunt Julie (Saidah Arrika Ekulona). He is up for a university professorship, and the other candidate is Ejlert Løvborg (Alexander Hurt), who, although brilliant and prolific, has had troubles with addiction. Thea Elvsted (Celeste Arias), a former schoolmate of Hedda, is assisting Løvborg in his work and in his overall life. When she enters the Tesman home in search of Ejlert, Hedda sees a plotting opportunity. Judge Brack (Alfredo Narciso) is posing as a friend to the young couple, but he also holds over them and wields authority as their benefactor. All he wants is to get into Hedda’s pants. The men go out to celebrate George’s bachelor party. Hedda gets to work, and various plot twists unfold. 

The play is 90 minutes with no intermission, and, sensorially, there are several things going on. Edelstein’s fine direction has a clear trace, impeccable frames, and visual balance. Mark Wendland’s set is practically bare, having a round moving platform with a couch at the center, a fireplace, and Korrie Yamaoka at the piano playing Caroline Shaw’s original music in the background. The music, the couch, and Heather Gilbert’s lighting feel like characters in their own right. Gilbert brings richness and depth to the stage, complementing Wendland’s set while enhancing the production’s theatrical atmosphere. Shaw’s music reflects Hedda’s temperament, and in moments of heightened tension or stress, Katie Holmes’s decision to play the piano felt particularly creative.

Between the trace, keeping up with the plot, the music, and the different histrionic styles, I was deeply stimulated. 

David I. Reynoso’s costumes convey the story’s Nordic gloominess in grays, blacks, and browns. In the first act, though, Edda is wearing a bright orange, satin dress. Obviously, it is also a nod, but I was not crazy about that particular garment. The men’s wardrobe featured long, fitted coats that truly dressed the overall frame. The other two choices for Hedda were on point in terms of layers and flow. Same for Aunt Julie and Thea’s dresses. Thea also had a beautiful, Rapunzel-esque wig that rounded the character. 

Going back to the couch. The Old Globe staged J.B. Priestley’s Time and the Conways in the spring of 2014, in which a couch was also a strong visual element. I appreciated the different uses of the couch in the scenes, such as for storage and movement on the platform. What I did not like was seeing the actors running around on the couch. It gave me OCD. Hence, part of the stimulation. 

Being a contemporary of Katie Holmes, an avid Dawson’s Creek viewer in the early 2000s (Tom Cruise drama aside), and James Van Der Beek’s passing last week, I was filled with mixed emotions going to see this. I had never heard of the Hedda Gabler play until now. While doing my research and comparing what I saw, I made some observations. Katie exhibits specific mannerisms and movements, such as holding her ear and tapping her shoulder, that point to a troubled, mentally unstable Hedda. There is also a signature sit-down with the legs spread, hinting at playfulness and overall curiosity. The character came across as manipulative, spoiled, and kind of evil, but not bored. The voice she uses is in a deeper tone than hers, and I believe she struggled a bit as she seemed hoarse at the end. There is great stage chemistry between Holmes and Alfredo Narciso, as the horny judge. Narciso gives game and intention. Celeste Arias delivered a layered, sweet, and struggling Thea. I loved the use of her voice: soft, well-modulated, and focused. And again, that wig was everything. Alexander Hurt portrayed a powerful Ejlert Løvborg, conveying the struggle, the addiction, and the frustration with love. Charlie Barnett, also in good chemistry with Holmes, portrays the naive, self-centered George realistically. The scenes shared with Saidah Arrika Ekulona were good. Ekulona gives off protective, untrusting mom energy toward her new niece. Katie MacNichol is the family’s forever housekeeper, Berte, who eventhough has brief lines and scenes, is a character who is witness to many things. Always enjoy seeing her work, and having her on the Globe stage in a non-Shakespeare play is exciting. 

There is a particular pleasure in seeing foundational pieces of modern drama interpreted for today’s audiences. Now, language and idiosyncrasy play such a big role in these types of works. There is a line that caught my attention as it alludes to a shooting in a specific area of the body, making it morbid. The context was understandable, and in what seems to be Iben’s style, but I felt it was shoehorned in. I do not speak Norwegian and have yet to read my copy of Hedda in Spanish, but I sensed a slight disconnect as the piece unfolds with a particular rhythm, yet the conclusion feels somewhat abrupt. 

What I can tell you, dear reader, is that seeing this production sent me down a rabbit hole, leading me to learn more about everyone and everything involved. And that is the magic of theatre. See what it does for you.

Currently playing, now extended until March 22.

For this production, Jess Slocum is the Production Stage Manager, Kendra Stockton the Assistant Stage Manager, and Nicholas Lambros Smith the Stage Management Swing.