Hedda Gabler meets silver screen legend Merle Oberon in this new twist on Ibsen’s tragedy. Old Henrik would have loved it, says our theatre critic

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Hedda (Orange Tree, Richmond)

Verdict: New spin on an old classic

Henrik Ibsen’s Hedda Gabler, a woman born into privilege as a general’s daughter but married to a man of little consequence, is a product of the restrictive societal norms of 1890. She’s limited by the expectations of the time – strict social rules, male dominance, financial worries, and a surprising lack of creativity.

Tanika Gupta’s fresh interpretation skillfully increases the tension by adding the issue of systemic racism as another form of restriction.

Pearl Chanda’s version of Hedda moves the story to 1948. She plays Hedda as a striking, quick-witted, and commanding former movie star who has left Hollywood behind. Now married to a struggling film director, George Tesman (played by Joe Bannister), she lives in Chelsea, London. With little to occupy her time, she toys with her father’s guns and manipulates those around her, instructing her maid, dressed in a sari, to keep the curtains closed – concealing something from the world. But what secrets is she keeping?

Hidden truths and deceptions are slowly being revealed. Like Merle Oberon, Hedda, who is of Anglo-Indian descent, has presented herself as white.

Before 1968, the strict rules of the Hays Code heavily controlled how race and relationships were portrayed in Hollywood. It specifically banned depictions of interracial relationships and largely limited actors of color to playing stereotypical roles like servants or villains.

Hedda becomes alarmed when Lenny, a former flying ace and now a screenwriter – a man she knew as a child in India and later had a romantic relationship with – arrives in London with a screenplay based on her life story.

Hettie MacDonald’s direction creates a tense and intimate atmosphere, and Chanda gives a captivating performance. Her eyes are both cold and intense, and every movement feels carefully planned, as if she’s still performing a set part. Rina Fatania is equally strong as Shona, Chanda’s maid, portraying a character who is both powerful and resentful, and actively supports her.

Let me tell you, as someone who’s seen a lot of family dynamics, this situation is heartbreaking. Shona isn’t who everyone thinks she is. She’s claiming to be Hedda’s childhood nanny, but that’s a complete fabrication – a cruel twist, honestly. The truth is, Shona is Hedda’s mother. And now, she’s not nurturing her daughter, but controlling her, obsessing over her appearance with makeup and constantly threatening to expose a secret that, according to Shona, will ruin Hedda’s life and legacy if revealed. It’s a truly manipulative and damaging relationship.

As she puts it, the British came to India, enjoyed themselves, and left a legacy of rejection – disliked in India and never truly welcomed in Britain.

I suspect Ibsen would have been impressed. A fresh new spin on an old classic.

Hedda runs at the Orange Tree until November 22.

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2025-10-31 20:48