Hedda Gabler - Curtin
Fri, 2 Mar 2012, 11:14 amGordon the Optom2 posts in thread
Hedda Gabler - Curtin
Fri, 2 Mar 2012, 11:14 am‘Hedda Gabler’ was written in a ‘realism’ genre by Norwegian playwright Henrik Ibsen in 1890. When it opened in Germany, due to the strange new style it received very poor reviews. Andrew Upton wrote this wonderful, contemporary adaptation for his wife, Cate Blanchett.
It is often commented that there are few decent parts for women in the theatre; however Hedda is considered to be one of the best. This excellent production is at the Hayman Theatre, Building 102 (near car park 31), Curtin University, Bentley. The performances have curtain up at 7.30 pm and are on nightly until Saturday 10th March.
The pounding music of the American industrial rock project, ‘Nine inch Nails’, fades (sound by Ali MacKellar) and the stage light glow to reveal an upmarket house in Perth.
Berte, the elderly maid (Angela Donlan), is nervously filling numerous vases with flowers sent by friends to welcome back the Tesmans from their 6-month honeymoon. Berte is nervous because the mistress must be kept happy. The sitting room is filled with Norwegian pine furniture, and a massive portrait of General Gabler looks down upon the large room, and on the daughter that he still controls from the grave and to whom he showed very little love or affection as a child.
The new husband, writer and lecturer, Jørgen Tesman (Daniel O’Brien) is talking to his Aunt Julle (Georgina Cramond). In buying the house Jørgen ran out of cash, and not wanting to let down his beautiful new, but demanding bride, Hedda Gabler (Tessa Carmody – absolutely stunning performance), he asked his Aunt Juliane for a loan. He obtained the money, with a little extra being thrown in by family friend, Judge Brack (Danen Engelenberg). Does the judge possibly have other reasons for chipping in?
Whilst on their honeymoon, Tesman - as Hedda prefers to call her husband - combined the romance with research for his new book.
As the play progresses, feministic Hedda is seen to be totally indiscriminate and unfathomable. Her desires and demands have little logic, and yet she always seems to get what she wants. Even her marriage was not created through love, but simply because of her own ennui. Her ingratiating attitude is less than subtle.
Thea Elvsted (Rebecca Miller), an old school adversary who Hedda beat up and cruelly teased daily, arrives at the house. Thea is now the wife of a wealthy, aging magistrate. A few minutes later, Jørgen’s academic nemesis, and Hedda’s ex-lover, Ejlert Løvborg (David Valent – touching performance) arrives at their door. Their conversation grinds to a stop.
Thea has just helped Løvborg recover from his chronic alcoholism, and has encouraged him to write the textbook, very similar to Jørgen’s work, this they call their ‘new baby’. The new book is a huge success and Tesman is now faced with major competition for the post of Professor, which until now was guaranteed to be his. This problem is compounded by the fact that Hedda and himself have been spending in advance on the expectation of getting the post.
When Jørgen learns that Løvborg is concentrating on his next book, rather than get a permanent job, Tesman and the Judge invite Løvborg out for a drink. He refuses, but they say that he must show strength of character and he submits.
Will the Tesmans ever find true happiness and security?
Ian Stewart constructed the set designed by Phil Miolin. The furniture consists of numerous pine packing cases – marked ‘fragile’ – they represent the many ‘rooms’ of Hedda’s complicated mind. Hedda is played by a sylphlike, diminutive figure, with the beauty of Audrey Hepburn, dressed in bikie leathers and with Goth makeup. Carmody, despite her 1.50 metre height, immediately shows the people around her that she is a bitch and totally the boss, yet skilfully revealing that there is a weakness in Hedda’s psyche, as she tries to escape from herself. Hedda appears to really care for the troubled souls that approach her, whilst twisting things around to her benefit. An amazing piece of acting by Tessa. The cast were all strong and focused, and one genuinely felt for the characters in the path of Hedda.
Good performance by Daniel O’Brien as the confused husband, but a small tip Daniel, keep your eye contact under control when talking to other cast members.
The director, Philip Miolin managed to develop the full dark humour of the script along with the complex characters of the people around Hedda. They showed love, hate, they despised her and yet desperately wanted to please her. Strong direction.
Simeon Brudenell designed the lighting, often fading the main floods to give a more intimate or threatening atmosphere, well operated by Rachel Foucar. Stage management by Jennifer Friend and Marina Del Borello.
Hedda Gabler can be watched on many levels, is she a real manipulating bitch or a pathetic soul, the result of a lonely childhood? A wonderful play beautifully directed and performed.
It is often commented that there are few decent parts for women in the theatre; however Hedda is considered to be one of the best. This excellent production is at the Hayman Theatre, Building 102 (near car park 31), Curtin University, Bentley. The performances have curtain up at 7.30 pm and are on nightly until Saturday 10th March.
The pounding music of the American industrial rock project, ‘Nine inch Nails’, fades (sound by Ali MacKellar) and the stage light glow to reveal an upmarket house in Perth.
Berte, the elderly maid (Angela Donlan), is nervously filling numerous vases with flowers sent by friends to welcome back the Tesmans from their 6-month honeymoon. Berte is nervous because the mistress must be kept happy. The sitting room is filled with Norwegian pine furniture, and a massive portrait of General Gabler looks down upon the large room, and on the daughter that he still controls from the grave and to whom he showed very little love or affection as a child.
The new husband, writer and lecturer, Jørgen Tesman (Daniel O’Brien) is talking to his Aunt Julle (Georgina Cramond). In buying the house Jørgen ran out of cash, and not wanting to let down his beautiful new, but demanding bride, Hedda Gabler (Tessa Carmody – absolutely stunning performance), he asked his Aunt Juliane for a loan. He obtained the money, with a little extra being thrown in by family friend, Judge Brack (Danen Engelenberg). Does the judge possibly have other reasons for chipping in?
Whilst on their honeymoon, Tesman - as Hedda prefers to call her husband - combined the romance with research for his new book.
As the play progresses, feministic Hedda is seen to be totally indiscriminate and unfathomable. Her desires and demands have little logic, and yet she always seems to get what she wants. Even her marriage was not created through love, but simply because of her own ennui. Her ingratiating attitude is less than subtle.
Thea Elvsted (Rebecca Miller), an old school adversary who Hedda beat up and cruelly teased daily, arrives at the house. Thea is now the wife of a wealthy, aging magistrate. A few minutes later, Jørgen’s academic nemesis, and Hedda’s ex-lover, Ejlert Løvborg (David Valent – touching performance) arrives at their door. Their conversation grinds to a stop.
Thea has just helped Løvborg recover from his chronic alcoholism, and has encouraged him to write the textbook, very similar to Jørgen’s work, this they call their ‘new baby’. The new book is a huge success and Tesman is now faced with major competition for the post of Professor, which until now was guaranteed to be his. This problem is compounded by the fact that Hedda and himself have been spending in advance on the expectation of getting the post.
When Jørgen learns that Løvborg is concentrating on his next book, rather than get a permanent job, Tesman and the Judge invite Løvborg out for a drink. He refuses, but they say that he must show strength of character and he submits.
Will the Tesmans ever find true happiness and security?
Ian Stewart constructed the set designed by Phil Miolin. The furniture consists of numerous pine packing cases – marked ‘fragile’ – they represent the many ‘rooms’ of Hedda’s complicated mind. Hedda is played by a sylphlike, diminutive figure, with the beauty of Audrey Hepburn, dressed in bikie leathers and with Goth makeup. Carmody, despite her 1.50 metre height, immediately shows the people around her that she is a bitch and totally the boss, yet skilfully revealing that there is a weakness in Hedda’s psyche, as she tries to escape from herself. Hedda appears to really care for the troubled souls that approach her, whilst twisting things around to her benefit. An amazing piece of acting by Tessa. The cast were all strong and focused, and one genuinely felt for the characters in the path of Hedda.
Good performance by Daniel O’Brien as the confused husband, but a small tip Daniel, keep your eye contact under control when talking to other cast members.
The director, Philip Miolin managed to develop the full dark humour of the script along with the complex characters of the people around Hedda. They showed love, hate, they despised her and yet desperately wanted to please her. Strong direction.
Simeon Brudenell designed the lighting, often fading the main floods to give a more intimate or threatening atmosphere, well operated by Rachel Foucar. Stage management by Jennifer Friend and Marina Del Borello.
Hedda Gabler can be watched on many levels, is she a real manipulating bitch or a pathetic soul, the result of a lonely childhood? A wonderful play beautifully directed and performed.
Gordon the OptomFri, 2 Mar 2012, 11:14 am
‘Hedda Gabler’ was written in a ‘realism’ genre by Norwegian playwright Henrik Ibsen in 1890. When it opened in Germany, due to the strange new style it received very poor reviews. Andrew Upton wrote this wonderful, contemporary adaptation for his wife, Cate Blanchett.
It is often commented that there are few decent parts for women in the theatre; however Hedda is considered to be one of the best. This excellent production is at the Hayman Theatre, Building 102 (near car park 31), Curtin University, Bentley. The performances have curtain up at 7.30 pm and are on nightly until Saturday 10th March.
The pounding music of the American industrial rock project, ‘Nine inch Nails’, fades (sound by Ali MacKellar) and the stage light glow to reveal an upmarket house in Perth.
Berte, the elderly maid (Angela Donlan), is nervously filling numerous vases with flowers sent by friends to welcome back the Tesmans from their 6-month honeymoon. Berte is nervous because the mistress must be kept happy. The sitting room is filled with Norwegian pine furniture, and a massive portrait of General Gabler looks down upon the large room, and on the daughter that he still controls from the grave and to whom he showed very little love or affection as a child.
The new husband, writer and lecturer, Jørgen Tesman (Daniel O’Brien) is talking to his Aunt Julle (Georgina Cramond). In buying the house Jørgen ran out of cash, and not wanting to let down his beautiful new, but demanding bride, Hedda Gabler (Tessa Carmody – absolutely stunning performance), he asked his Aunt Juliane for a loan. He obtained the money, with a little extra being thrown in by family friend, Judge Brack (Danen Engelenberg). Does the judge possibly have other reasons for chipping in?
Whilst on their honeymoon, Tesman - as Hedda prefers to call her husband - combined the romance with research for his new book.
As the play progresses, feministic Hedda is seen to be totally indiscriminate and unfathomable. Her desires and demands have little logic, and yet she always seems to get what she wants. Even her marriage was not created through love, but simply because of her own ennui. Her ingratiating attitude is less than subtle.
Thea Elvsted (Rebecca Miller), an old school adversary who Hedda beat up and cruelly teased daily, arrives at the house. Thea is now the wife of a wealthy, aging magistrate. A few minutes later, Jørgen’s academic nemesis, and Hedda’s ex-lover, Ejlert Løvborg (David Valent – touching performance) arrives at their door. Their conversation grinds to a stop.
Thea has just helped Løvborg recover from his chronic alcoholism, and has encouraged him to write the textbook, very similar to Jørgen’s work, this they call their ‘new baby’. The new book is a huge success and Tesman is now faced with major competition for the post of Professor, which until now was guaranteed to be his. This problem is compounded by the fact that Hedda and himself have been spending in advance on the expectation of getting the post.
When Jørgen learns that Løvborg is concentrating on his next book, rather than get a permanent job, Tesman and the Judge invite Løvborg out for a drink. He refuses, but they say that he must show strength of character and he submits.
Will the Tesmans ever find true happiness and security?
Ian Stewart constructed the set designed by Phil Miolin. The furniture consists of numerous pine packing cases – marked ‘fragile’ – they represent the many ‘rooms’ of Hedda’s complicated mind. Hedda is played by a sylphlike, diminutive figure, with the beauty of Audrey Hepburn, dressed in bikie leathers and with Goth makeup. Carmody, despite her 1.50 metre height, immediately shows the people around her that she is a bitch and totally the boss, yet skilfully revealing that there is a weakness in Hedda’s psyche, as she tries to escape from herself. Hedda appears to really care for the troubled souls that approach her, whilst twisting things around to her benefit. An amazing piece of acting by Tessa. The cast were all strong and focused, and one genuinely felt for the characters in the path of Hedda.
Good performance by Daniel O’Brien as the confused husband, but a small tip Daniel, keep your eye contact under control when talking to other cast members.
The director, Philip Miolin managed to develop the full dark humour of the script along with the complex characters of the people around Hedda. They showed love, hate, they despised her and yet desperately wanted to please her. Strong direction.
Simeon Brudenell designed the lighting, often fading the main floods to give a more intimate or threatening atmosphere, well operated by Rachel Foucar. Stage management by Jennifer Friend and Marina Del Borello.
Hedda Gabler can be watched on many levels, is she a real manipulating bitch or a pathetic soul, the result of a lonely childhood? A wonderful play beautifully directed and performed.
It is often commented that there are few decent parts for women in the theatre; however Hedda is considered to be one of the best. This excellent production is at the Hayman Theatre, Building 102 (near car park 31), Curtin University, Bentley. The performances have curtain up at 7.30 pm and are on nightly until Saturday 10th March.
The pounding music of the American industrial rock project, ‘Nine inch Nails’, fades (sound by Ali MacKellar) and the stage light glow to reveal an upmarket house in Perth.
Berte, the elderly maid (Angela Donlan), is nervously filling numerous vases with flowers sent by friends to welcome back the Tesmans from their 6-month honeymoon. Berte is nervous because the mistress must be kept happy. The sitting room is filled with Norwegian pine furniture, and a massive portrait of General Gabler looks down upon the large room, and on the daughter that he still controls from the grave and to whom he showed very little love or affection as a child.
The new husband, writer and lecturer, Jørgen Tesman (Daniel O’Brien) is talking to his Aunt Julle (Georgina Cramond). In buying the house Jørgen ran out of cash, and not wanting to let down his beautiful new, but demanding bride, Hedda Gabler (Tessa Carmody – absolutely stunning performance), he asked his Aunt Juliane for a loan. He obtained the money, with a little extra being thrown in by family friend, Judge Brack (Danen Engelenberg). Does the judge possibly have other reasons for chipping in?
Whilst on their honeymoon, Tesman - as Hedda prefers to call her husband - combined the romance with research for his new book.
As the play progresses, feministic Hedda is seen to be totally indiscriminate and unfathomable. Her desires and demands have little logic, and yet she always seems to get what she wants. Even her marriage was not created through love, but simply because of her own ennui. Her ingratiating attitude is less than subtle.
Thea Elvsted (Rebecca Miller), an old school adversary who Hedda beat up and cruelly teased daily, arrives at the house. Thea is now the wife of a wealthy, aging magistrate. A few minutes later, Jørgen’s academic nemesis, and Hedda’s ex-lover, Ejlert Løvborg (David Valent – touching performance) arrives at their door. Their conversation grinds to a stop.
Thea has just helped Løvborg recover from his chronic alcoholism, and has encouraged him to write the textbook, very similar to Jørgen’s work, this they call their ‘new baby’. The new book is a huge success and Tesman is now faced with major competition for the post of Professor, which until now was guaranteed to be his. This problem is compounded by the fact that Hedda and himself have been spending in advance on the expectation of getting the post.
When Jørgen learns that Løvborg is concentrating on his next book, rather than get a permanent job, Tesman and the Judge invite Løvborg out for a drink. He refuses, but they say that he must show strength of character and he submits.
Will the Tesmans ever find true happiness and security?
Ian Stewart constructed the set designed by Phil Miolin. The furniture consists of numerous pine packing cases – marked ‘fragile’ – they represent the many ‘rooms’ of Hedda’s complicated mind. Hedda is played by a sylphlike, diminutive figure, with the beauty of Audrey Hepburn, dressed in bikie leathers and with Goth makeup. Carmody, despite her 1.50 metre height, immediately shows the people around her that she is a bitch and totally the boss, yet skilfully revealing that there is a weakness in Hedda’s psyche, as she tries to escape from herself. Hedda appears to really care for the troubled souls that approach her, whilst twisting things around to her benefit. An amazing piece of acting by Tessa. The cast were all strong and focused, and one genuinely felt for the characters in the path of Hedda.
Good performance by Daniel O’Brien as the confused husband, but a small tip Daniel, keep your eye contact under control when talking to other cast members.
The director, Philip Miolin managed to develop the full dark humour of the script along with the complex characters of the people around Hedda. They showed love, hate, they despised her and yet desperately wanted to please her. Strong direction.
Simeon Brudenell designed the lighting, often fading the main floods to give a more intimate or threatening atmosphere, well operated by Rachel Foucar. Stage management by Jennifer Friend and Marina Del Borello.
Hedda Gabler can be watched on many levels, is she a real manipulating bitch or a pathetic soul, the result of a lonely childhood? A wonderful play beautifully directed and performed.