Judith Light lights up the stage as the icy and aristocratic Hedda Gabler in The Shakespeare Theatre's production of Henrik Ibsen's "Hedda Gabler." Fresh from her recent Helen Hayes Award-winning performance in last season's Wit at the Kennedy Center, Light makes her Shakespeare Theatre debut under the astute direction of Artistic Director Michael Kahn.
Although Ibsen's Hedda is written as a newlywed bride of 29 years old, the 51-year-old Light makes her realistic and sympathetic, through a subtle acting style, which is a far cry from her days on television's "Who's the Boss." Light's Hedda is rigid and self-assured in public, but when she is alone, she beats herself with her fists and collapses in crying fits. When the play begins, Hedda has returned from her honeymoon with her new husband, George Tesman, expertly portrayed in a finely-nuanced performance by Michael Rudko. Rudko makes Tesman an endearing nebbish, and the actor's inventive use of stammering and hesitation in the delivery of his lines remarkably conveys Tesman's weakness in contrast to Hedda's striking fortitude.
Bored and lonely in a luxurious house Tesman cannot afford, Hedda sets her sights on ruining the blossoming career of a scholar and former suitor, Eilert Lovborg, who is a rival for her husband's coveted university position. Set designer Walt Spangler has created a marvelously lush monochromatic setting, highlighted by turquoise pressed tin tiles covering the walls, along with a turquoise carpet and drapes. After she urges the recovering alcoholic Lovborg to attend an all-night drinking party with her husband, Hedda uses the opportunity to destroy the only copy of a brilliant new manuscript Lovborg has penned. When Lovborg returns from the party in despair over his evening of debauchery and the loss of his manuscript, Hedda encourages him to commit suicide with one of her father's pistols.
Light is surrounded by a capable supporting cast, including Ruby Holbrook as Tesman's aunt and Dee Pelletier as Lovborg's mentor. Holbrook is an accomplished stage actress who brings a serene and commanding presence to the stage in her every action and word. However, Robin Gammell seems to be playing a judge from a B-movie western complete with a swagger worthy of John Wayne. Similarly disappointing is Thomas Jay Ryan as Lovborg, who never quite hits the mark because he chooses to play the superficial moods of brooding and frustration without ever connecting to real emotions. In addition, Ryan is woefully miscast because he is entirely too young to have been a suitor of Light's middle-aged Hedda many years ago.
Murrell Horton's costumes are stunning and are central to one of the most visually memorable moments of the evening. After Hedda has knelt on the floor next to Lovborg on the sofa, her crimson train spread out behind her, Lovborg moves to exit, but stops momentarily while standing in the middle of the train. Kahn has created a wonderfully poignant moment without dialogue which foreshadows Lovborg's later suicide when he will die in the middle of his own blood. Hedda's final costume is a black mourning dress, inventively interwoven with swirls of turquoise to reflect the set's primary color scheme.
Prior to the final scene, the back wall of the set moves slowly forward, further boxing in the repressed Hedda and making her a prisoner in her own house. Unable to cope with her life, Hedda chooses the path of least resistance and follows Lovberg in suicide. "Hedda Gabler" contains several fine performances, and area theatre-goers certainly should not miss Light in her latest star turn.