Henrik Ibsen
Director Tony Estrella’s version of Ibsen’s tragedy smooths out an energetic path — the action moves along with compelling alacrity.
Two versions of “Hedda Gabler” — one gratifying, the other gauche.
It is always a pleasure to see Ibsen on stage, but this production of one of his masterpieces is generally humdrum.
In this always compelling production, director Carey Perloff decided to bring the uncanny on stage, almost as a sixth character, in the form of composer/musician David Coulter.
An invigorating staging of Henrik Ibsen’s still pertinent play about spinelessness up and down the political spectrum.
This is a thoroughly pedestrian production — wobbly, uninspired, and often downright tedious.
In this Shaw Festival production we have something all too 21st century: the deliberate dumbing down of a complex play.
Despite some awkward staging decisions and the script tampering, there is plenty of lively drive in this production of Hedda Gabler.
An underground academic critic explores the fascinating intersections between the Kardashian sisters’ novel “Dollhouse” and Ibsen’s play “A Doll House.” The more things change …
Recent Comments