Review: HEDDA (Orange Tree Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

There has been no shortage of Ibsen plays in London this year, particularly new twists on his classics, with Ghosts, The Lady From The Sea and My Master Builder all enjoying runs throughout the year. It’s Hedda Gabler’s turn next, with Tanika Gupta’s new twist on HEDDA premiering at Orange Tree Theatre. Would this Hedda set the stage alight—or just burn out under her own spark?

Inspired by Henrik Ibsen’s Hedda Gabler, HEDDA reimagines the title character as a retired Hollywood actress with secrets she doesn’t want getting out. Set in London in 1948 in the wake of a newly independent India, this Hedda Gabler will stop at nothing to prevent our Indian heritage from being revealed. Married to a rising British film director, entertaining a powerful producer and crossing paths with someone who knew her back in India, will Hedda stop her secret from coming out?

It is a bold new twist on Ibsen’s classic story of blackmail, secrecy and power, and one that retains the essence of these integral themes and the heart of the story in itself, while being unafraid to try something new. Ibsen purists may be alarmed at how HEDDA deviates from the original narrative so drastically, but at the heart, this is still distinctively Hedda Gabler. Having wowed me with her play A Tupperware Of Ashes last year, Tanika Gupta once again proves what a remarkable writer she is, weaving culture and heritage into aspects of everyday life, with one eye firmly on the humanity of it all. Here, she crafts a character living in fear and an element of shame about her true self, in a world that is changing so quickly, she hardly recognises it, It is a clever twist on the tale, and one that allows Gupta’s writing to shine at every opportunity.

Hettie Macdonald’s direction takes the intimate nature of Orange Tree Theatre and creates a blistering setting, keeping the action in one room of Hedda’s home, exposing her and her revolving door of guests to the surrounding audience, allowing to see the urgency in the situation and connect with the moments when all unravels. The use of space is inspiring, with direction feeling far grander than the confined space it finds itself in, though perfectly playing into the intimacy and accentuating it where necessary.

Pearl Chanda leads the cast in the title role of Hedda, offering a riveting performance that balances the constraints she has enforced upon herself in her new life, and the complexities of the true identity she hides. Through silent anguish, we watch Chanda navigate these complexities flawlessly in a performance that captivates from start to finish. As the events of the play unfold and things deteriorate, there is a sense of calm that miraculously co-exists with the madness, making even the most irrational of choices seem understandable. It is this delicate fusion of the writing, direction and Chanda’s performance that makes HEDDA such a powerful and fascinating watch.

Elsewhere, George Tesman plays the perfect opposite to Chanda’s Hedda as her husband George Tesman, persisting a blissful ignorance that makes Hedda’s plight all the more impactful. Jake Mann is a strong force on stage as Leonard, while Milo Twomey comes into his own in a pivotal climactic scene as John Brack. There is an intriguing nature to Rina Fatania’s Shona, though this is slightly underused, noticeable only due to the strength of Fatania’s performance.

One of the stronger of 2025’s Ibsen adaptations, Tanika Gupta continues her knack for striking productions with this urgent and very distinct take on HEDDA. A contemporary twist on a classic with stunning direction and a fantastic lead performance, making this a Hedda Gabler for the ages. When it is at its best, HEDDA creates real theatre magic that turns all of the sparks it sets throughout the play into a satisfying flame.

HEDDA plays at Orange Tree Theatre until 22nd November. Tickets from https://orangetreetheatre.co.uk/whats-on/hedda/

Photos by Helen Murray