Word: gablers
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After directing Tartuffe in Jan. 2004, he went on to what he describes as the “best show I’ve ever done”: Henrik Ibsen’s Hedda Gabler. He found, despite his love for the piece, that it was not entirely well-received. A review in The Crimson assailed the title actress, calling her “eminently unbelievable ... recklessly artificial and horribly overplanned.” The review sparked a controversy in the Harvard theater world, leading Ursula G. DeYoung ’04 to write a long letter to the editor...
...those unable to catch Cate Blanchett in the Sydney Theatre Company's new production of Hedda Gabler - and with only a handful of standing-room tickets available each night for the remainder of the season, that means most people - there is a consolation: this Hedda is horrible, and Blanchett's performance is terrible. Horrible in the sense that, 114 years after it was written, Henrik Ibsen's play, about the attempts of a general's daughter to transcend her loveless marriage to a feckless history professor, is as misanthropic as ever. And terrible, in that Blanchett's performance inspires...
...writing in response to the review of Hedda Gabler by Benjamin J. Soskin ’06 (Arts, “Review: ‘Hedda’ Fueled by Destruction,” April 26). I would like to inform everyone that both the production of Hedda Gabler and, crucially, Hedda herself were as good as Soskin’s review was ill-conceived. I will not go over the excellent plot of the play itself; instead I would like to present an unmitigated rejection of Soskin’s review of the performance of Rebecca J. Levy...
...well as the actors, one must address the aesthetic design of the show. Hedda Gabler stands out as one of the best uses of the space in the Ex that I have seen here. The set was beautiful, both futuristic and functional, combining concrete benches and delicate pussywillow. The costumes were trim and stream-lined, the lighting was both eerie and eerily precise, and the sound added the perfect ambience of tense strangeness to the show. In fact, aside from the performances themselves, what was most impressive about the production was its uniformity of atmosphere, and for this one must...
...celebrated timepiece of Switzerland, always knows when to expect the next tick. In other words, this is one hell of a Swiss watch—contrary to Soskin’s belief, its gears wouldn’t even know how to grind, much less churn. Simply put, Hedda Gabler was one of the best plays I have ever seen. It was a fantastic introduction to Ibsen, a perfect showcase for Rebecca Levy’s talent, and a brilliant confirmation of Mike Donahue’s genius. I was riveted from the opening line to the closing tableau...