The Artistic Home: Hedda Gabler Review
Brookelyn Hébert as Hedda Gabler
The Artistic Home Presents HEDDA GABLER Review - She’s An Icon, She’s A Legend
TLDR: Keeping closely to Henrik Ibsen’s original text, The Artistic Home’s production of Hedda Gabler gives us that late 1800s, turn of the century feel while adding lots of emotional punches with the actor’s character decisions.
Todd Wojcik and Brookelyn Hébert
The Artistic Home Frames Us in the 1800s
Ah, Hedda Gabler. Insane? A menace? Or like Madea, a woman unable to make her own life decisions as the world makes it for her? Circumstances typical for the Victorian era, we’re dropped into the newly married Tesman’s home as they return from their honeymoon.
Framing around them and the set of the whole show is their new home designed by Kevin Hagan. Donned in elegant gray, brocade wallpaper it extends as one long room to the back of the theater. Breaking it into individual sections, a lighted archway separates the front sitting room, from the study, and then in the far back the dining room. Subtle lighting changes designed by Rachel Levy make us feel like the walls are closing in when the rooms go darker leaving only a spotlight on Hedda.
The costumes bring us back to the 1800s with the quintessential Victorian bustles and full suits. Designed by Rachel Lambert, most of the costumes are rich colors in deep jewel tones with lots of textures and embroidery.
Thea comes onstage in deep turquoise blue and then rich, dark green. Hedda starts in a pale white dressing gown with dramatic feather cuffs and accented by a sheer, underbust corset and changes into her evening dress with a regal, ruffled high collar. The men don suits appropriate for their personalities. Jorge in quality, but simple blue and beige stripes. Judge Brack in lavish, embroidered, three piece suits.
Strong Character Points of View
First on the stage is Lynne Baker as Aunt Julle. In a simple and modest dress, she dons a new feathered hat to make a good impression on her new niece. Already we can tell she’s a gentle soul and cares for other people as she embraces her old maid who has come to live with her nephew and new bride.
Followed closely behind comes Todd Wojcik as Jorge Tesman. He smiles genuinely and shows love and care for his aunt. He constantly asks after his other sick aunt and excitedly talks about all the notes and research he was able to conduct on his honeymoon. Later when he works with Thea to reconstruct Lovburg’s work, we see his true love lies in academia.
John Mossman as Judge Brack pulls a Meryl Streep as Miranda Priestly and has the audience leaning forward in their seats hooked onto his every word as he speaks softly but commandingly.
Brookelyn Hébert as Hedda first enters the stage after we hear from multiple other characters and we already have an impression of how “particular” she is. Her white dressing gown accentuates her paleness and she almost fades into the background. But something changes when Hedda puts on that brown and purple gown with that imposing collar. She commands the stage and pulls everyone’s focus towards her. We feel her influence as she manipulates Lovburg and Thea (Dan Evashevski and Ariana Lopez), driving him to drink and persuading Thea to stay the night against her better judgement.
We see each of these actor’s strong personality choices heightened when each interacts with Hedda. Mossman and Hébert complement each other in the best, worst way possible. They're both in search of power and play each other to see who wins. Hedda seems more dominating when she coaxes Lovburg to end his life, but in a beautiful way. And when interacting with her new husband, we see his naivete and wanting to see the good in Hedda while she will do anything to get her way.
The After Party Thoughts
This is a very strong production of Hedda Gabler in my opinion. I've been fascinated by the play for years and love seeing how different productions and actresses portray Hedda herself. Hébert’s, dare I say, cuntiness gives Hedda bite and gives her a more modern edge. She's not bitter and depressed at her circumstances, she's angry and bored and tries to drum up entertainment for herself by dragging everyone else down to get her way.
What I liked best was that people always paint Hedda as trapped, and to some extent she still is just by the expectation of women at that time, but Hébert gives Hedda more agency in her choices. She's angry that her circumstances are not what she thought they would be and then loses the game she thought she could win. Where some might see Hedda as an enigma, Hébert gives strong motivations we can clearly see.
While all the characters give this play life, be aware that this play still falls under the traditional Ibsen work where the action is all mostly given to us through dialogue (i.e. the action happens offstage). The first act is all set-up so it may feel like not a lot is happening at first, and the show clocks in at the usual two and a half hours. So if you are not a fan of these dialogue driven or society plays where it’s rich people being bored, Hedda Gabler wouldn't be a good fit for you. However if you love the work and want to see a finely acted production, this version of Hedda would be a good fit for you.
RECOMMENDED
Brookelyn Hébert and John Mossman
When
Now through March 30, 2025
Where
The Den Theatre
1331 N. Milwaukee Ave.
Chicago, IL 60622
Runtime: 2hrs 30min, including an intermission
Tickets
$20+
Tickets can be purchased through the Artistic Home website, the Den Theatre website, or by calling 773-697-3830
Photos
Joe Mazza
Find Allie and The After Party featured on Theatre In Chicago
Brookelyn Hébert
CAST
Hedda Tesman: Brookelyn Hébert
Jorge Tesman: Todd Wojcik
Judge Brack: John Mossman
Thea Elvsted: Ariana Lopez
Ejlert Lovborg: Dan Evashevski
Berte: Laura Coleman
Aunt Julle: Lynne Baker
Understudies: Leah Huskey (Hedda), Martin Tebo (Jorge), Matt Mitchell (Judge Brack), Elizabeth Stam (Thea), Jay Krean (Ejlert), Delia Ford (Aunt Julle/ Berte)
CREATIVE
Playwright: Henrik Ibsen, adapted by Mark O’Rowe
Director: Monica Payne
Assistant Director: Ted James
Stage Manager: Audrey Terhune
Production Manager: Kevin Hagan
Scenic Design: Kevin Hagan
Lighting Design: Rachel Levy
Master Electrician: Ellie Fey
Costume Design: Rachel Lambert
Properties Design: Randy Rozler
Intimacy Design: David Blixt
Technical Director: Tom McNelis