A new production of ‘Hedda Gabler,’ produced by Toni Wells-Roth, premiered over the weekend at the Odyssey Theatre in West Los Angeles. Known for then-controversial plays that featured strong female characters and challenged Victorian values, Norwegian playwright Ibsen wrote ‘Hedda Gabler’ late in his career, in 1890. Nevertheless, the play has become Ibsen’s most oft-staged work. The translation on this version of ‘Hedda’ is by Kenneth McLeish. In short, ‘Hedda’ centers on the newlywed title character (Dina Rosenmeier), a general’s daughter who operates as a high maintenance, manipulative virago. Out of boredom, she creates problems for the academic men of letters in her sphere, including husband Jorgen Tesman (Blake Robbins), an academic banking on a professorial position to solve all of his monetary problems and cushion his new future with Hedda. Not to give too much away, but Hedda’s scheme backfires on her (literally) and lands her in hot water. Pushed a couple of degrees left, ‘Hedda Gabler’ could be pure farce. In this production, black humor and double entendres buoy some of the bitter proceedings. All of the play’s seven players deliver, but ‘Hedda’ really comes alive with the introduction of John Livingston as the tormented genius Eilert Lovborg, Hedda’s former lover and Jorgen Tesman’s scholarly rival. Livingston looks kind of young for the role, but nevertheless delivers a fun, quirky performance. Ellen Gerstein as Berta the maid is outstanding in a limited supporting role, which she plays to the hilt. She’s not only a scene-stealer, but also a set-stealer, as one scene requires her to physically move a piano to the rear of the stage. With her smoky voice and voluptuous blond features, Rosenmeier recalls Kathleen Turner in her prime. She does a solid job of carrying the story’s center. A native of Aalborg, Denmark, Rosenmeier gets an edge from her Scandinavian good looks and her fluency with the Danish language that adds texture to the production. She milks the latter for one of the evening’s biggest laughs; outside the parameters of the Ibsen play itself. The only problem with this production may be chalked up to opening night jitters or the play’s preparation on short notice. There were a handful of times where the actors stepped on each other’s lines or jumped out of the gate too early. One suspects that, after a couple more performances, such kinks will be smoothed out. Nevertheless, such moments did not derail the production, which also includes the talents of Deborah Van Valkenburg as Aunt Julia Tesman and Gillian Brashear (Mrs. Elvsted). Costumer Christina Wright does a great job making Rosenmeier look good in maroon and turquoise period dresses. The set design by Kis Knekt and Andrew Theil”antique furniture against a burgundy backdrop”appears flavorful and unobtrusive. At the gala opening party, over some appropriately Danish beer (Carlsberg) and finger food, the Palisadian-Post caught up with Rosenmeier, who explained that the idea to mount the play originated while on a trip to Napa Valley with a copy of ‘Hedda Gabler’ and her pal, Seymour Cassel. The veteran character actor Cassel urged her to do the production, and was originally set to play Judge Brack himself (played well by Grainger Hines), as well as direct the play, until some offers to do various feature films complicated his schedule. Charles Otte, who co-directed ‘Hedda’ with Rick Pagano, said that he streamlined some of the text to add some subtle post-modern spice to the affair, which is why the latter half of this four-act production features the cast in more contemporary clothing. ‘Hedda Gabler’ plays Thursday-Saturdays at 8 p.m., and Sundays at 2 p.m., through May 31, at the Odyssey Theatre, 2055 S. Sepulveda Blvd. (one block north of Olympic), West Los Angeles. Tickets: $25, Thursdays and Fridays; $30 Saturdays and Sundays. RSVP: (310) 477-2055.
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