Oct 243 min read

Hedda Gabler - KXT on Broadway (NSW)

Written by Henrik Ibsen. Adapted and Directed by Anthony Skuse. Presented by Secret House.

An exciting and layered adaptation of Hedda Gabler which crackles with tension and desire.

Reviewed by Juliana Payne

KXT on Broadway Theatre, Chippendale

Until 2nd November, 2024

Tickets: https://www.kingsxtheatre.com/hedda-gabler

CONTENT WARNING: the play has references to suicide themes, replica guns and sounds, and alcoholism.

Henrik Ibsen wrote Hedda Gabler in 1889, about an aristocratic woman who is repressed, bored and trapped in an unhappy loveless marriage. I can see the eye-rolling and hear the ‘first world problems’ from the skeptics, but hear me out – this adaptation is nothing short of extraordinary. Adapted and directed by Anthony Skuse with stunning actor Ella Prince in the title role, this re-imagining brings a revitalised, manipulative undercurrent to Ibsen's already scandal filled writing. In the intimate atmosphere of the KXT on Broadway theatre space, the skill and energy of the ensemble cast create a hothouse effect, giving us a sense of Hedda’s suppressed frustration, and its' many tragic knock-on effects.

Prince’s performance is spellbinding. You will believe they are Hedda. They are by no means a saintly or sympathetic character, and in this nuanced portrayal, Prince gives the character a destructive narcissistic drive. Gabler is spiteful and manipulative and has a look in their gleaming eyes that make you think they might go for your jugular at any moment. Prince prowls around the small space like a caged tiger, and their portrayal is just as lethal. And yet we don’t hate or even dislike Hedda. The combination of Skuse's effective direction and Prince's refined skill highlights the complex spitefulness of the character while offering an undercurrent of vulnerability. Hedda is mentally and morally cribbed and confined by the oppressive nineteenth century environment, and it’s not going to end well.

Photography by Braiden Toko

The supporting cast are impressive; building up the layers of cobwebs around Hedda that highlight the play’s themes of societal constraints conflicting with personal desire. James Smithers as the gormless husband and Suzann James as his doting and annoying aunt provide a tragicomic duo against Hedda. Jane Angharad has a small but vital part as Thea Elvsted and gives a nuanced and wonderful performance. Jack Angwin is convincing as Hedda’s secret but weak lover, and Christopher Tomkinson is suitably predatory and odious as the amoral Judge Brack. Who wouldn’t turn to the dark side in such company?

The minimalist set design (also James Smithers) is thoughtful and understated, allowing the powerful dialogues and intense emotions to take centre stage. The production makes interesting use of Christie Mae, the composer who also plays a ‘chorus’ type role on stage; playing the piano but sardonically watching the tragedy unfold with scornful glances as if to say ‘what fools these mortals be’. As well as directing the action at a cracking pace, Anthony Skuse is the costume designer for the production. Hedda spends most of the play in silk day-pyjamas and a kimono gown, like Joan Crawford or Barbara Stanwyck in a 1940s melodrama. This is juxtaposed with everyone else in period costume. While the contrast feels a little out of place at first, it does signify how Hedda is confined to the drawing room, with no reason to get dressed to go out.

What stands out most in this work is the genuine interplay between the characters. The cohesive ensemble chemistry allows for Hedda to dominate the stage while the other characters orbit around. Prince's intensity and lithe physicality breathes new life into this classic text, and the stage crackles with tension. You literally don’t know what they're going to do next.

Yet again, KXT has nailed it in presenting a small independent production by Secret House that is testament to the dedication and talent of everyone involved. It’s a remarkable reminder of the power of theatre to spark conversation and reflection. I wholeheartedly recommend that you catch this professional and gripping adaptation, and enjoy knowing you're supporting local creatives and production as a bonus.

Written by Henrik Ibsen

Adapted by Anthony Skuse

Director: Anthony Skuse

Producer Jane Angharad

Presented by Secret House

Set Designer: James Smithers

Lighting Designer Travis Kecek

Lighting & Tech Associate: Clare Sheridan

Composer and Sound Designer Christie Mae

Images and Photography Braiden Toko

Assist Director / Producer Talia Benatar

Assist Designer Max Shaw