Hedda Gabler, Golden Goose Theatre Review

Written by Bronagh for Theatre and Tonic

Disclaimer: Gifted tickets in exchange for an honest review

Content warnings: graphic descriptions, homophobia, misogyny, flashing lights, drug and alcohol abuse, violence, mental health issues, suicide, classism, biphobia, sex, death, cancer, HIV, strong language, nudity.

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I’ve never seen any adaptation of Hedda Gabler. I have a vague memory of it being on my university reading list, but something else was clearly too important that week. Hedda Gabler describes itself as a ‘queer soap opera’ particularly looking at the world of art, theatre and performance, as opposed to Henrik Ibsen’s original play which looked at the post-industrial revolution. Hedda is still our main character, however, instead of living in a lavish mansion he is more likely to frequent Dalston Superstore, screaming about not being hungover and taking A LOT of cocaine.

Hedda Gabler had my attention from the get-go. We’re in an apartment in Marylebone, the scene of what looks like the aftermath of a decadent party. Within minutes we hear of Hedda’s (Joe Harrington) disdain for Kylie Minogue and her associated rosé wine and his love for Mamma Mia, a cultural phenomenon don’t you know?

Harrington’s delivery of Hedda’s one liners are hilarious at times, painfully awkward (in the best possible way) at others. He is coupled with George (Caleb Cura) a self-assured artist – nothing to do with his father being on the board of the Tate – pining after the Turner Art Prize. Throw in the impossibly yappy Tia (Freddie Acaster), is-he-a-lord-or-isn’t-he Instagram influencer Anthony (Peter Todd) and oozing cool girl energy Eilert (Ciara Southwood) and we have our neurotic arty gang. Think Friends if it was set in a queer community, a lot more wine and drugs consumed and at least a few of them were nepo babies.

Hedda Gabler is a well thought exploration of the queer community, and the darker underbelly. Eilert is concentrating on an art project relating to ‘bug chasing’, something which I had never heard of. This was an unexpected aspect which I found interesting and carefully explained and expanded on. The Golden Goose Theatre actually displayed a ‘glossary’ of some terms in the bar area before the show started to help audience members familiarise themselves with certain terms, in a very thoughtful touch from the theatre and team.

I really enjoyed the use of lighting and music throughout. There were a few blackouts throughout the two hours, but not for more than a few seconds. Club like lighting pulsed throughout the space and, in a more unusual turn, a sex scene took place to an Abba instrumental. Not something I’ve seen before, but I liked it!

As mentioned, I haven’t seen the original Hedda Gabler so this was my first introduction. I researched the original and found the parallels of the two very interesting and so thoughtfully thought through. Giving it a much more modern twist really works, and cleverly doesn’t stray too far.

Of course, I must mention Saskia Mollard as Bertha (or ‘B’) who is George’s intern and Jay Lafeyette Valentine as Jools. B is our anchor, the ‘normal’ working class girl who just wants to become an artist. It is B who brings the whole thing to a head, dishing out a few home truths. I wish we had of seen more of Jools, a fabulous character with a bit more substance than the other art kids.

The Golden Goose is a lovely little venue, with a pub attached and very friendly staff. Not far from Oval tube, it is easy to get to and situated on what seems to be a busy road. Special mention to the lovely dog behind the bar who I got to give lots of strokes to.

Hedda Gabler is a special production, and one that I would encourage anybody to go and see before the run ends. Reimagining a well established play and setting it in a modern day queer community cannot be easy, but the cast and team have absolutely smashed it.

At The Golden Goose Theatre until 1st February 2025.

★ ★ ★ ★