PATRICK MARMION reviews Lily Allen’s Hedda in Bath: Singer just can’t inject much empathy into this malignant narcissist

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HEDDA, Ustinov Studio, Bath Theatre Royal

A GREAT actor can make us care about almost anybody. 

In her recent theatrical performance at Bath’s intimate Ustinov Studio, Lily Allen portrays a questionable character, perhaps one of the most dubious in all of dramatic literature.

I’d like to discuss Hedda Gabler, a character created by 19th-century Norwegian playwright Henrik Ibsen, who is often seen as an extreme self-centered individual.

In simpler terms, Hedda, as portrayed by Matthew Dunster in his contemporary adaptation, carries herself with the arrogance and style typically associated with a pampered fashion model.

Revised: Hedda now has a contemporary background – she’s the daughter of a deceased musician who, it is said, was cheated by Spotify. She frequently laments about missing her father and the good life they had. Moreover, her impending marriage to a kind but uninteresting professor will plunge her into the monotonous life of middle-class suburban poverty.

In a region known as the West Country, or colloquially referred to as “Somerset,” by one character, we delve into the world of profound introspection.

Hedda’s former partner, Jasper (played by Tom Austen from Grantchester), reappears, tears streaming down his face, expressing his desire not to be a copy of his partner, but he struggles to find the courage to be himself genuinely. If you enjoy unraveling complex character dynamics, this show could be worth watching.

Hedda’s husband, George, played by Ciaran Owens, bears a striking resemblance to David Harbour, who was recently divorced from Allen and is known for his role in Stranger Things. This similarity is somewhat unsettling.

George, unlike the other person, doesn’t have the usual drive to get married to this financially struggling individual who seems excessively envious of their former partner, due to some personal changes or emotional developments in their life (personality bypass).

It isn’t evident what reasons could motivate George to marry Hedda, as she appears to be rather sensitive but not affectionate towards him.

Despite the fact that she mockingly insults and aggressively pressures an older acquaintance to harm herself and encourages her ex-partner to take his own life, there’s always a sense of uncertainty about just how dangerous Hedda in Allen’s portrayal truly is.

Other performers find more success with Dunster’s highly realistic dialogues, which are deeply grounded in a sense of emotional stagnation or struggle.

Austin radiates charm as the intensely chronic Jasper, a proficient futurist (though not of his own), and Julia Chan plays his newly found love.

Hedda’s old friend), Taya, is an alarmingly vulnerable addict on the brink of a nervous breakdown.

In a more casual style, we could say: Imogen Stubbs plays an affectionately overzealous aunt, whereas Brendan Coyle (known for his role as Downton’s Mr Bates) portrays a lethargically unconcerned MP and benefactor to Hedda, who seems to have a sweet tooth.

Fortunately, Najla Andrade provides a balanced view of the anxious chaos, portraying the shy Brazilian maid who is concerned about everyone’s unpredictable emotions.

In contrast, Anna Fleischle’s stage layout symbolizes the play’s lack of spirit, presenting a sparse, high-end mortuary-like environment adorned with full-height net curtains stretching from floor to ceiling.

Dunster’s show is staffed entirely by stand-ins, indicating a strong desire for a move to the West End. Meanwhile, having Allen on board promises to attract a large audience.

However, while she can perhaps portray an unmotivated villainous character in this small-scale theatre, Shaftesbury Avenue could prove to be a more challenging evaluation of audience support.

Or more casually:
While the smaller stage might let her play a cold-hearted character with no apparent motives, the bigger Shaftesbury Avenue stage could push fan devotion to its limits.

Hedda is not without quality, but it is almost entirely without empathy. No actor can survive that.

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2025-08-15 02:04