Criterion Center Stage Right, (7/10/1994 - 8/07/1994)

First Preview: Jun 01, 1994
Opening Date: Jul 10, 1994
Closing Date: Aug 07, 1994
Total Previews: 37
Total Performances: 33

Category: Play, Drama, Revival, Broadway
Description: A play in four acts
Setting: Jorgen Tesman's house.

Opening Night Production Staff

Theatre Owned / Operated by B. S. Moss Enterprises (Charles B. Moss, Jr., Executive Director)

Produced by The Roundabout Theatre Company (Todd Haimes: Artistic Director; Gene Feist: Founding Director)

Written by Henrik Ibsen; Translated by Frank McGuinness; Incidental music by Dan Moses Schreier

Directed by Sarah Pia Anderson

Scenic Design by David Jenkins; Costume Design by Martin Pakledinaz; Lighting Design by Marc B. Weiss; Sound Design by Douglas J. Cuomo

Roundabout General Manager: Ellen Richard; Company Manager: Denys Baker

Production Stage Manager: Jay Adler; Technical Supervisor: Larry Morley

Casting: McCorkle/Cole Casting; Roundabout Director of Planning and Development: Julia C. Levy; Roundabout Artistic Associate: Gloria Muzio; Roundabout Director of Marketing: David B. Steffen; Press Representative: Boneau / Bryan-Brown; Advertising: Nappi / Eliran Advertising, Ltd.

Opening Night Cast

Kelly McGillis
Role was billed as "Hedda Gabler" in this production
Hedda Tesman
Jim AbeleEilert Lovborg
Patricia Conolly
Role was billed as "Miss Juliane Tesman" in this production
Miss Julia Tesman
Keith DavidJudge Brack
Jeffrey DeMunn
Role was billed as "Jorgen Tesman" in this production
George Tesman
Bette Henritze
Role was billed as "Berte" in this production
Bertha
Laura LinneyThea Elvsted

Understudies: April Black (Bertha, Miss Julia Tesman), Robert Jason Jackson (Judge Brack), Sarah Long (Hedda Tesman, Thea Elvsted) and Michael Ouimet (George Tesman)

Reviews


New York Daily News: "Kelly McGillis' Failed Henrik Maneuver"

Hedda Gabler is not Eve Harrington.

You find it hard to imagine that anyone could confuse Ibsen's play about a restless woman yearning to break free of provincial restraints with the scheming title character in "All About Eve"? You obviously haven't seen Kelly McGillis' portrayal in Sarah Pia Anderson's wrongheaded Roundabout revival.

Anderson, an English director, has set the play in an American living room that suggests the upper middle class of the '40s or early '50s, presumably on the assumption that American women lived in shackles until they were liberated in the '60s. Whatever constraints American women endured have nothing to do with those that confine Hedda. One of the key elements of the plot, for example, is that a woman is unable to walk home alone after dark. Even in New York, a woman of that period could do so without concern for either safety or propriety.

The setting confounds any number of plot turns - if memory serves, for example, '50s America had telephones, which would obviate the need for the characters to write each other so many letters. But none of this would matter if Hedda herself were convincing.

Perhaps Anderson set the play in America because she realized that McGillis' "aw, shucks" wholesomeness suggests Peoria rather than 19th century Norway. McGillis has, in fact, none of the qualities essential to Hedda: a tortured intellect, a firece independence. The only thing that seems apt is her height, but Hedda should tower over the others not physically but because of her withering intelligence; of which McGillis is devoid.

Rather than projecting a frustration and melancholy that point unwaveringly toward suicide, McGillis, in her Broadway debut, suggests nothing more than cattiness. For the last 10 minutes, suddenly she emotes, contorting her face wildly as if she's about to spit out something that tastes weird. The suicide scene, beginning with an obviously taped bit of piano playing, is thoroughly inept.

Laura Linney does well as Hedda's rival, and Patricia Connolly is strong as her irritating aunt.

The men are all wrong: Keith David too young for Judge Brack, Jeffrey DeMunn far too much of a ninny for Hedda's husband, and Jim Abele too callow for her old flame.

Martin Pakledinaz's costumes might be saved in case the Roundabout decides to do "Hedda" properly. David Jenkins' set, which captures the period perfectly, would be ideal for a revival of "Harvey."


New York Daily News
07/11/1994

New York Post: "She's a 'Hedda' her time"

As nowadays seems to be welcome custom the honor, or at least the duty, of kicking off the new Broadway season falls to the Roundabout Theater Company - New York's round-the-year adventure into the classic stage.

So the 1994/95 Broadway season officially started yesterday with one of the very few masterpieces calculated to grace its boards during all of the next 12 months - Henrik Ibsen's "Hedda Gabler."

And offering it the glamour of a star-power lift there is Kelly McGillis, a bona fide movie star, whose credits range from "Top Gun" to "The Accused." Although making her Broadway debut, McGillis is a Julliard graduate and well-versed in matters theatrical.

The trouble with masterpieces is that they are occasionally handled with too much reverence, or sometimes, as here, with too little; although the version by Irish playwright Frank ("Someone to Watch Over Me") McGuinness sounds lean and idiomatic, with no sense of translantese.

The British director, Sarah Pia-Anderson, has updated the play, from 1890 to the late 40s. While David Jenkins' setting, like the stylishly subtle costumes by Martin Pakledinaz, perfectly convey the period Scandinavia she has chosen, the staging is too flaccid for immediacy.

In certain crucial ways the 100-year-old story of Hedda - an unfulfilled woman who needed to control the lives around her, and whose parched soul withers in a drought of hope - remains as timeless as any suburban tragedy currently inkling tabloid pages.

Yet Anderson's particular time-traveling choice proves willful, adding more the play's problems than to its relevance or even credibility.

For example, faced with a narrative that has more than its fair share of news delivered by messenger or letter, you start to wonder, given the present setting, why no one uses the telephone or listens to the radio.

Fifty years on - although Anderson may not believe it - much has changed. And not just the invention of the telephone.

Why are these people untouched by the effects of World War II? At least give Ibsen's world, with its dawning sense of the new feminism, what is proper to the times, style and philosophy of the 1890s. Hedda could never be a contemporary of Simone de Beauvoir.

McGillis' performance is glittering and imperious. Cold as a python, as calculating as charity, luminous with venality, she nevertheless fails to suggest that Hedda is, in part, a victim of circumstances and environment.

Of course, this is largely the fault of the director, who takes a domestic tragedy of manners and dilutes it into a lurid melodrama in which even its final act of violence is made to seem not just inevitable but totally predictable.

Anderson's heavy hand falls on other members of the cast, notably on Keith David's swaggering, bully boy of a Judge Brack, who is given none of the sinister insidiousness of Ibsen's original character.

Other actors do come off better - Jim Abele's tortured Eilert Lovborg, Laura Linney's prissy yet effective Thea and, best of all, Jeffrey DeMunn's brilliantly ineffectual Tesman.

Years ago Ingmar Bergman gave the world stage his timeless "Hedda" (his heroine in the English version was Maggie Smith); by contrast this one - aiming at the same universality - seems simply dated.

Hedda Gabler - Reviews Manager


New York Post
07/11/1994

Variety: "Hedda Gabler"

After several major successes -- chief among them revivals of "Anna Christie" and "She Loves Me"-- the Roundabout offers a case study in the dangers of a non-profit theater going Broadway with an announced agenda of casting movie stars and winning Tony awards. "Hedda Gabler" is one of those mountains actresses want to scale because it's there, or has been for a century. But few can lift Ibsen's unvarnished study of a ruthless, vain, egomaniacal woman above the level of soap opera -- and dated soap opera at that.

Kelly McGillis has spent considerable time onstage in recent years, but Hedda is quite beyond her reach. In Sarah Pia Anderson's nervous production of a new and not especially illuminating translation by Frank McGuinness ("Someone Who'll Watch Over Me"), the star uses her face the way novice actresses use speech, stretching everything out as if taking up more time will substitute for an understanding, and revelation, of character.

Every time a character exits Hedda's presence, regardless of the circumstance , McGillis responds with a catalog of facial tics and grimaces: clenched teeth, flexed cheeks, rolled eyes, etc.

From the first moment, this Hedda is the picture of disdain and disappointment, empty of creative impulse beyond bitchery. And if no audience may ever be able to sympathize with Hedda -- indeed, we are never asked to -- we need some appreciation of the keenness of her disappointment and jealousy, none of which is in evidence here: McGillis fails to make Hedda anything more than a shrew lacking any moral compass.

Most of the production has a similarly impenetrable veneer -- along with the strident insistence of a show that means to demonstrate how relevant it is while succeeding only in underscoring its datedness.

The best performance comes from Laura Linney, as Thea, the muse who has brought a dissolute writer back from the brink, only to have Hedda send him back out there and beyond. Every bit as desperate as Hedda, Thea quickly realizes her new friend is in fact her deadly rival.

But Linney never relinquishes an essential fragility that at some points during this long evening makes Thea's plight almost heartbreaking. And with minimal histrionics, Linney's Thea conveys the fierce bravery Hedda lacks and sets out to destroy.

Jeffrey DeMunn is annoying as Hedda's insufferably mediocre husband, Jorgen; Keith David is a bombastic Judge Brack, and Jim Abele is starchy as Jorgen's intellectual rival.

McGuinness has moved the play to post-World War II England, for no apparent reason borne out by director Anderson. David Jenkins' drawing room set lacks distinction, as do the rest of the production values.


Variety
07/11/1994

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