Hedda Gabler: without the gloss

Gun pointing in Hedda Gabler

Patrick Marber and Ivo Van Hove’s take on Isben’s iconic character is a great adaptation, but also an uncomfortable one. Here’s why it has to be uncomfortable to watch.

This is a new thing in my blog: for the very first time, I’ve got to put a content warning on a review. I have a policy that this blog does not use content warnings when common sense would do the job. Content warnings serve one purpose and one purpose only, which is that if something is coming that one could reasonably expect some people to find distressing, you give an advance warning. Said people can then choose whether to stop reading, or brace themselves and carry on. Most of the time, the title and opening paragraph make it obvious enough. If I review Romeo and Juliet, it’s going to have references to suicide. If I review To Kill a Mockingbird, it’s going to have references to racism. There’s no point warning people you’re going to mention something sensitive if it involves mentioning the very thing you’re trying to warn people about.

But there is an important difference here. So far, whenever I’ve talked about a play with upsetting themes, I’ve only ever had to touch on them in the review – the full harrowing details can stay in the play itself. This review, however, is different. The National Theatre’s production of Hedda Gabler was on of its most successful productions, ending a run of disappointments. But it was also one of its most controversial productions because of its depiction of sexual coercion. This needs talking about, and in order to that, we also have to talk about some horrible things that happen in real life. This will come later in the review, but it will come. Consider this your content warning. Continue reading

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The Red Lion and East is East

 
SKIP TO: The Red Lion, East is East

Newcastle’s big two theatres have been busy in the last month, with main shows going head to head at the same time. Unusually, both productions are revivals. Not too unusual for Northern Stage to do a revival (though less often than it used to be), but unusual for Live to do this. The Red Lion only just counts a revival, having premiered at the National¬† Theatre in 2015, but off-hand, the only revivals I can think of at Live are re-runs of successful shows previously premiered there. Even Northern Stage haven’t done that many revivals lately if you don’t count the “concept” productions such as Hedda Gabbler and Cyrano de Bergerac.

But as far as revivals go, both productions are revivals of excellent plays, and but companies have done an great job of bringing the plays back.

The Red Lion

Red_lion_7I didn’t pay much attention to The Red Lion when Live Theatre first announced it because neither the play nor the author rang a bell. But it should have done, because whilst I didn’t remember the name, I certainly did remember one of his plays, Dealer’s Choice, performed by a then-unknown Dugout Theatre shortly before their rise to stardom. This play, a dark play about six men trapped in a dangerous spiral of high-stakes poker, always stuck in my mind amongst the hundreds of plays I’ve seen. He’s notable for other plays too, but this is the one I based my high expectations on, and he did not disappoint.

Set in the world of semi-professional non-league football, this play is inspired in part by Marber’s own experience in saving his own local club from bankruptcy. So you might think that such a play would be a homage to the beautiful game, free from the influence of spoilt millionaires and self-serving shareholders. Guess again. Cheating and greed are just as rife, and the story centres around a bung that goes wrong. Continue reading