Pulled together in only two weeks, Hedda Gabler captivates audiences for two hours straight.
Queen’s Theatre Troupe’s (QTT) Hedda Gabler runs from Nov. 2 to 10 in Theological Hall, home to the DAN School of Drama and Music. Student-organized and starring Ray Fenos, ArtSci ’28, as the titular character, the production is directed by Gracen White, ArtSci ’25, and produced by Nathan Zhe, ArtSci ’26. QTT put their own spin on the 1890 play, Hedda Gabler, written by Norwegian playwright Henrik Ibsen.
Before the performance, White shared with the audience that the play had been assembled in a short time frame, but this didn’t diminish its impact on the audience.
The story follows Hedda Tesman, a bored newlywed housewife. Hedda, better known by her maiden name, Gabler, is the daughter of General Gabler, who raised her to value individualism and power. However, as a woman in the late 19th century, Hedda lacks the societal freedom and financial independence she craves. With no love for her husband, Hedda seeks thrills by manipulating those around her—a path that ultimately leads to her tragic demise.
Hedda longs for the power and freedom afforded to men of her time. In her quest for control, she lives vicariously through the male characters. Throughout the play, she exploits every opportunity for dominance: she manipulates a vulnerable old acquaintance, Thea Elvsted, and seizes her husband George Tesman’s academic rival Eilert Lovborg’s manuscript to sow chaos.
Fenos delivered a stunning performance as Hedda Gabler. My attention was constantly drawn to her, even when she was supposed to be in the background of a scene. Despite Fenos’ youth, the actress shocked me with the talent and maturity she exuded, completely selling the part. Her emotional performance was beyond her years, and the facial expressions were gripping—I couldn’t look away.
Published in 1890, the play’s focus on a woman’s dissatisfaction, shrewdness, and scheming seemed ahead of its time. Hedda Gabler is an unconventional representation of women for that time period, which is inspiring and refreshing to see.
The flexibility of relationships depicted through the play was surprising. Hedda was often left alone with men, bossing around Tesman. Thea Elvsted ran away from her marriage—and nobody really seemed to mind. Though the play was written over 130 years ago, it has a modern and progressive touch.
Hedda Gabler is an exploration of how quickly human inspiration and will to live can be crafted and then shattered. Bored Hedda Gabler’s life thrill comes from manipulating others. When she becomes the one who is under someone else’s power and manipulation, she realizes she must die. She refuses to be under someone else’s control.
Throughout the play, there was a group of performers dancing and moving, portraying the darkness that seems to follow Hedda, appearing only during certain times. Named on the programme as “Daydreams,” they’re played by students Emily Nevinson, ArtSci ’28, Zoe Compson, ArtSci ’25, Jaeli Schnoor, ArtSci, ’27, and Ruth Drever Dwyer, ArtSci, ’28. The organic and lyrical movement of the Daydreams was enchanting, and their facial expressions and reactions helped to wordlessly tell the audience about Hedda’s inner thoughts, adding an abstract and experimental touch to the play.
My only qualm was the show left me wanting more—specifically from the Daydreams. I was interested to see representations of the shadows within Gabler’s mind. I would’ve loved to see Hedda grapple with the dark Daydreams directly, as I think it would’ve made her a more sympathetic character. I felt the Daydreams seemed to arbitrarily show up at certain moments, and I want to know specifically why they were appearing. However, that may be up to interpretation.
With that said, Hedda Gabler was a fabulous pick by QTT and was brilliantly executed in a short time span. I can’t wait to see more clever picks and stellar acting in the club’s future.
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