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Kirkwood has updated Ibsen's 'Hedda Gabler' and moved her to a distressed Notting Hill flat, where she languishes while Tesman, her husband, is waiting to hear whether or not he's got a senior lectureship at UCL in his specialist subject of robotic ants. Best of all, Cara Horgan's Hedda doesn't throw Eli's only manuscript on the fire, but rather swallows his memory stick (although surely Tesman, given his expertise, would be able to track down the original?). Like all great classics, Ibsen's play transcends its time and yet there are problems with taking it away from a context in which women had few rights. Here, the barriers to Hedda's freedom exist only in her head, making her less mysterious and more of a calculatinglyevil woman of soap opera proportions. That said, Carrie Cracknell's production makes the most of Kirkwood's sly humour and it's easy to understand why men would fall for Horgan's capricious, beautiful Hedda.
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What is 'following'?A doll's house of a theatre, with rickety wooden chairs as seats, the Gate devotes itself almost exclusively to foreign drama, often in specially...
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