Life is not tragic. Life is ridiculous, and that cannot be borne. —Henrik Ibsen
Hedda Tesman returns from her honeymoon to the brutal banality of domestic life: an antagonizingly bland husband; a living room full of dying flowers; and a house that is too large, too cluttered, too bourgeois for the once unstoppable Hedda Gabler. Both tormented and merciless, she is caught between her appetite for sensation and acute awareness of public perception. Mark O’Rowe’s stunning contemporary adaptation is a mesmerizing study of power, control, and self-deception and a nuanced portrait of one of the most fascinating figures in modern drama.
Frequently referred to as the father of modern drama, Henrik Ibsen is a towering figure in the dramatic canon—but don't let that bore you. Read on to discover why Ibsen remains as startingly contemporary today as he was during his own time.Read More
Mark O’Rowe’s glasses, which bring to mind a mild-mannered accountant, seem incongruous with the blistering, furious poetry of his plays, but O’Rowe specializes in theatre wherein appearances are gleefully deceiving. Read more about his path and why O'Rowe chose to adapt Hedda Gabler in this article.Read More