The University of California, San Diego Department of Theatre and Dance currently presents Henrik Ibsen’s “Hedda Gabler” as a showcase for student directors, designers and actors in its acclaimed, three-year master of fine arts program. After 130 years since its conception, the play remains enigmatic. Its two female protagonists, Hedda Gabler and Mrs. Elvsted, respectively played by Zoë Chao and Sara Garcia, represent the evolving status of women in society, making it even more poignant that the two literary types they are involved with, George Tesman (Kyle Anderson) and Eilert Lovborg (Hugo Medina) are rivals in the academic field of history. When the play opens, Hedda and George have returned from an extended honeymoon abroad and are attempting to adjust to married life in the fishbowl townhouse provided by Tesman’s Aunt Julia (Ngozi Anyanwu), who is concerned for her nephew, his bride and their marriage. Tesman is nerdy and distracted; and the beauteous and vain Hedda is bored, resentful and already not in love with him, if she ever was. Two other men are interested in Hedda. First is the couple’s old friend, the well-connected Judge Brack (Scott W. Patteson), who lusts after Hedda deliciously and suggests a triangle might ease her loneliness. The other is Hedda’s former intimate, the intensely romantic Eilert Lovborg (Hugo Medina), whom she long ago banished at pistol point. Lovborg, an alcoholic who’s been rehabilitated by their longtime friend, Mrs. Elvsted (Sara Garcia), is Tesman’s academic rival. With Mrs. Elvsted’s assistance, Lovborg has written a highly successful book and has the manuscript for an even more brilliant second, the publication of which will make it impossible for Tesman to succeed in their mutual field, sociological history. The conflicted Hedda sets about retribution. Her motives are subject to debate. In the end she destroys lives, including her own. MFA director Anthony Luciano, utilizing Rolf G. Fjelde’s translation, seems bent upon banishing the Nordic darkness and the oppressive patriarchy of the period and along with them Hedda’s numerous and possible motivations. Maybe the babe is just pure-D nuts. Luciano indulges his directorial vision principally through the design team. Kathryn Lieber creates a lofty and airy scenic framework, extending upwards from the playing platform, festooned with white sheer drapes. After the first act, a separate scenic island accommodates Hedda’s retreat, where she keeps the piano that doesn’t fit into the décor of the townhouse provided by Tesman’s aunt. This island and the presence of an enormous goldfish tank at stage left may indicate Hedda’s feeling of constriction. When one adds Alina Bokovikova’s lovely costumes, especially for Chao, Wen-Ling’s lighting and Omar Ramos’ sound design, the sum is a spectacular, transparent physical production; all the rest, still rife with questions, as “Hedda” has been all these years. “Hedda Gabler” continues at 8 p.m. Thursday through Saturday, Feb. 24 – 26, at the Mandell Weiss Forum of UCSD’s La Jolla Playhouse. Tickets are $20, and discounts are available for affiliates, seniors and students. Information is available at http://theatre.ucsd.edu or (858) 534-4574.
