Hedda Gabler (NHB Modern Plays)

By Henrik Ibsen

Richard Eyre's high-profile adaptation of Ibsen's famous 'problem play' about a headstrong woman's determination to control those around her.
Arriving home after an extended honeymoon, Hedda struggles with an existence that is, for her, devoid of excitement and enchantment. Filled with a passion for life that cannot be confined by her marriage or 'perfect home', Hedda strives to find a way to fulfil her desires by manipulating those around her.
Richard Eyre's adaptation of Ibsen's Hedda Gabler was premiered at the Almeida Theatre, London, in 2005.
'A triumph... Eyre's dialogue is forceful, clear, with just enough idiomatic dash' - Observer
'Hedda is often regarded as the female Hamlet. But Eyre reminds us that it is a great polyphonic play as well as a commanding title-role' - Guardian
'Hedda Gabler still has the power to shock' - Independent on Sunday
'thrilling... re-administers, as if for the first time, the devastating shock and the sheer affront of Ibsen's drama' - Independent

• Language: English
• Publisher: Nick Hern Books
• Release date: Jun 7, 2016
• ISBN: 9781788500708

Henrik Ibsen

Henrik Ibsen (1828-1906) was a Norwegian playwright who thrived during the late nineteenth century. He began his professional career at age 15 as a pharmacist’s apprentice. He would spend his free time writing plays, publishing his first work Catilina in 1850, followed by The Burial Mound that same year. He eventually earned a position as a theatre director and began producing his own material. Ibsen’s prolific catalogue is noted for depicting modern and real topics. His major titles include Brand, Peer Gynt and Hedda Gabler.

Book preview

ACT ONE

A large, elegant, well-furnished, contemporary (1890) drawing room: a sofa, a round table and chairs, an armchair and footstool by a large porcelain stove, an upright piano. Fine carpets. It’s a room clearly intended for entertaining. A smaller room lies beyond, where a large portrait of a good-looking military officer can be seen. There are fresh flowers in vases and bouquets on tables all over the room.

Morning light floods through French windows. It’s autumn.

A small woman in her mid-sixties, MISS TESMAN, tiptoes into the room. She’s wearing a hat and carrying a parasol. She’s followed by a plump middle-aged woman, BERTHE, the maid, who is carrying a bunch of flowers.

MISS TESMAN (whispering). Well . . . I don’t think they’re up yet.

BERTHE (whispering). ’S’what I said. Still, the boat was late wa’n it and – God – the stuff she wanted to unpack before she’d go to bed.

MISS TESMAN. Well, let’s have some fresh air to welcome them.

She opens the French windows. BERTHE looks to her for advice, shrugs and puts the flowers on the piano.

BERTHE (in tears). I don’t know where to put nothing.

MISS TESMAN. Berthe . . . It broke my heart to lose you.

BERTHE. I worked for you and your sister for . . .

MISS TESMAN. I know, dear, but there’s no alternative. George needs you, he must have you, you’ve been looking after him since he was little.

BERTHE. What with poor Miss Rena being sick – she can’t do for herself at all . . .

MISS TESMAN. Oh, I’ll manage.

BERTHE. . . . and I might not be up to scratch for Georgie’s wife, I mean for Miss Hedda, Mrs Tesman, I mean . . .

MRS ELVSTED. At the beginning there’s bound –

BERTHE. . . . she can be quite mardy, I’ve heard.

MISS TESMAN. Well, she’s a general’s daughter, she’s used to fine things and things just so. That black riding dress, you remember . . . She used to ride out with her father –

BERTHE. With a feather in her hat like the Queen of Sheba. Never thought Georgie’d –

MISS TESMAN. Berthe, you must call him ‘Doctor’ now.

BERTHE. Doctor. Aye. She said that last night. Just as soon as she stepped in the door.

MISS TESMAN. They made him a doctor in Germany. ‘I’m Doctor Tesman now, Aunt Juju!’ he told me when he came down the