Hedda Gabler

Adena Jacobs' adaptation of Henrik Ibsen's 1890 play Hedda Gabler sadly falls flat. It might be because there seems to be something almost gimmicky about casting a male in the lead role.

This decision could be played upon social constructions of masculinity, or upon queer theory and the performativity of gender, adding colour to this play about a disaffected newlywed. But instead there is just a man (Ash Flanders) in one of the richest female roles of the past two centuries. There are too few roles with such complexity for an actress to play with, Gabler simultaneously alluring and disgusting; handing it to Flanders does not sit comfortably. Although, admittedly, Flanders is impressive and embodies a sensual, yet vulnerable Gabler, having clearly studied how to move and speak and act like a woman.

As the play descends into melodrama rather than realism, and as certain characters and scenes feel more and more disconnected or simply unnecessary, the acting and structure unravels. That's not to say there aren't powerful moments of pathos and tension, but that they are oft undermined by an '80s Drive-style score from Kelly Ryall.

Meanwhile playfulness with lighting and shade at times of drama illuminate Dayna Morrissey's set in new ways, the focal point being a spa bath centre stage, where character dynamics feel strongest. All in all it feels like Belvoir's Hedda Gabler is trying to say something contemporary­ but what that is exactly remains unclear.