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Ibsen discovers Brummie roots
Heather Desmond, played by Elisabeth Hopper, has her own means of persuasion . . . Pictures: Robert Day Heather Gardner Birmingham Repertory Theatre at The Old Rep **** BIRMINGHAM-based playwright Robin French
takes Ibsen's classic Hedda Gabler and moves it from Oslo to Birmingham. But Heather Gardner is more than a gimmick. By
moving the story in terms of time and place (we are now in the early
1960s) its themes of friendship, loyalty, betrayal, addiction, sexual
relations and power take on a new resonance. Here we have a Heather who does not need to be
dependent on her newly wedded husband George Desmond, in fact she even
refers to her former job in an office. And yet the financial power of
the relationship lies in his somewhat precarious hands. When George's
seemingly guaranteed professorship – at Birmingham University no less –
hangs in the balance Heather is no emancipated wife rushing to head back
to work, instead she relies on devious means to secure his, and
therefore her, future. This is an age when women are prepared to turn
their backs on unsuccessful marriages, as seen by Dorothy's rejection of
her husband for her lover Alec – but there is a whiff of shame around
that decision. The role of women may be changing but in many ways they
remain strait-jacketed by convention.
Indeed there is an air of Abigail's Party around
this production – while superficially all seems well, underneath there
is total chaos. James Bradshaw is incredibly likeable as the
bumbling George who is so wrapped up in his world of academia and trying
to keep Heather happy that he cannot see what is right under his nose.
It is hard not to feel pity for him as Heather withers him with her
complete lack of love or understanding. Elisabeth Hopper succeeds in a level of cool
detachment which never makes her Heather even the slightest bit
empathetic. All her choices are totally selfish – even her final
decision to escape from it all will bring sorrow and shame on those who
care for her. Maisie Turpie, with her broad Brummie accent, is
a naïve Dorothy while Sean Hart plays an Alec who veers between
self-confidence and self-hatred. Birmingham audiences will love French's sly
familiarity with their home city. His comparisons between Ladywood and
Harborne raise a knowing smile while George's reference to the new
Bullring as the pride of future generations is particularly dry when we
have only recently seen that sixties landmark obliterated. Not only does French know his Birmingham but he
knows his audience, understanding our affection for the city which we
feel we can ridicule but which we will defend to the hilt when other
cities dare to criticise. There is a warmth in the humour which endears
us to the new locality. In trimming back the language and making the
situation and the characters so much more accessible to us, French's
play breathes new life into a classic making us re-evaluate its people
and its story. To 28-03-13. Diane Parkes
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