Dunster performs a highly faithful transposition of the plot into the contemporary world, which means that Allen’s Hedda remains the bored new wife of decent but dull academic George (Ciarán Owens), who still cannot quite believe this aloof and previously much sought-after woman agreed to marry him. They have just returned from a five-month honeymoon, which appears to have lit not one single spark of joy or affection in Hedda, and are now living beyond their means in Hedda’s supposed “dream” house.
Director Matthew Dunster transposes Ibsen’s story into a contemporary setting (Photo: Manuel Harlan)Allen’s Hedda is as coldly stylish as the minimalist wood-panelled living room and there’s a chilly thrill to be had in watching her literally recoil from the warm chatter of George’s doting Aunt Julia (Imogen Stubbs). There are dark hints of a past sexual relationship with her godfather, MP David Brack (Brendan Coyle, best known as Mr Bates in Downton Abbey), whose smoothly controlling charm does not bode well for marital harmony. When Hedda’s old school frenemy Taya (Julia Chan) arrives in distress, Hedda’s toxic spirit of mischief leads to devastating consequences.
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Taya is, apparently, a recovering addict, who used to visit “crack dens in rural Somerset”, and it’s as the play snakes towards its tragic finale that Dunster’s over-faithful adaptation begins to show its cracks and limitations. Who takes an un-backed-up laptop on a stag night? Can a modern-day mortgage really involve so many contributing parties? Even so, these flaws cannot derail Ibsen’s grim momentum and both Hedda and Allen are a picture of desolation come the end.
To 23 August, Theatre Royal Bath (01225 448844, theatreroyal.org.uk)
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