(Max Gordon Moore and Marianna Gailus, photo by Joan Marcus)

NEW HAVEN — Marianna Gailus has come to Yale Repertory Theatre and given one of the most subtly textured performances I’ve seen in years as Mrs. Hedda Tesman in the theater’s production of Henrik Ibsen’s Hedda Gabler, translated from the Norwegian by Paul Walsh and directed by James Bundy, running through Dec. 20 at the Yale Repertory Theatre at 1120 Chapel St. in New Haven, Connecticut.

            Occasionally there’s a performance that has me sitting back wondering how an actor or actress will take the role. I’ll stretch my legs during intermission and wonder what their intention is with the role as motivations are revealed. It doesn’t happen often, but when it does, it can show that the actor isn’t leading the audience, pacing every action so that we are caught in the middle of it, wondering what will happen next. That is what Gailus accomplishes as Hedda, and I’m so glad James Bundy and Gailus were there to escort me through this production.

            Hedda and her husband, Jorgen Tesman, played with a fragile, almost henpecked quality by Max Gordon Moore, have retuned from their lengthy honeymoon to their new home in Christiania, Norway. Jorgen is looking forward to an appointment to a position that will allow him and Hedda to live the luxurious life of the upper class and afford their new home. This is thrown into contention as a somewhat rival, Eilert Lovborg (James Udom), has released a book ahead of Jorgen’s own project that undercuts his goals and challenges his potential advancement. Also, Hedda had once been romantically involved with Eilert. Now, Eilert is working on a new book with his new paramour, Mrs. Thea Elvsted (Stephanie Machado), who has just left her husband for him. Her husband may not even know she has run away yet.

(James Udom, Stephanie Machado, Marianna Gailus, photo by Joan Marcus)

            Hedda looks to take control of the world around her as she attempts to subvert Eilert’s actions, control Jorgen, and manipulate everyone else so she can maintain what power she has. Gailus plays her with near sociopathy. Almost every move she has Hedda make is calculated and meticulous. Even how she has Hedda move is without bend or break, every step flowing with the gracefulness of a ballerina, while every action is made with the cold exactness of an assassin who will stop at nothing to achieve her goals.

            Bundy’s balance of Gailus’ precision performance with the rest of the cast is superb. Max Gordon Moore’s Jorgen is so wishy washy, and his interactions with the rest of the cast, especially his aunt, Miss Juliane Tesman (Felicity Jones Latta) and Berte the maid (Mary Lou Rosato) are so disarmingly silly and sweet that when Hedda shows up, her power over the household, even though she’s just moved in that day, feels almost supernatural. It’s her domain and she dominates the space. As much as everyone feels they can obfuscate and maneuver around everyone else she knows how to manipulate and coerce everyone around her. Except for Judge Brack, who Austin Durant plays with a cunning that can only be matched by Hedda herself. Bundy uses these secondary characters to bring some much-needed levity to offset Gailus’ authoritative performance.

            Hedda Gabler is a play about a woman who is has been underestimated her entire life and has done everything within her power to achieve status and does what she can to hold onto it without scruples. She doesn’t really love Jorgen. The thought of sex with him repulses her. But he offers her status and power, which is far more tempting to her. Bundy and Gailus’ presentation of the role is psychologically invigorating and sometimes horrifying.

(Marianna Galius, photo by Joan Marcus)

            The design of the Tesmans’ villa by Jessie Baldinger is beautifully detailed with stark contrasts in shadow by lighting designer Larry Ortiz, particularly how the upstage room plays to the downstage part of the home. The stage is a little small, which does require some suspension of disbelief when two characters are talking to the side with the assumption of the audience that they can’t be heard by other characters on stage. It doesn’t quite play as well as a Shakespearean aside. Lyle Laize Qin’s costumes are amazing, especially with Hedda’s dresses. Her first entrance in the high collared pink dress is stunning, and her red dress in act three is gorgeous.

            There was a lot of love and attention poured into Yale Rep’s production of Hedda Gabler. The story’s initial flighty bit of fun turns into a compelling psychological thriller with a stellar performance by Gailus and is one of the best productions of the year here in the Nutmeg State.

HEDDA GABLER

TICKETS: https://yalerep.org/

PRODUCTION: Written by Henrik Ibsen; Translated from the Norwegian by Paul Walsh; Directed by James Bundy; Scenic Designer: Jessie Baldinger; Costume Designer: Lyle Laize Qin; Lighting Designer: Larry Ortiz; Sound Designer: Emilee Biles; Hair Designer: Matthew Armentrout; Production Dramaturg: Timothy Hartel; Technical Director: Steph Lo; Fight and Intimacy Director: Kelsey Rainwater; Vocal and Dialect Coach: Walton Wilson; Casting Director: Calleri Jensen Davis; Stage Manager: Narda E. Alcorn

CAST (in order of speaking)

Felicity Jones Latta as Miss Juliane Tesman

Mary Lou Rosato as Berte

Max Gordon Moore as Jorgen Tesman

Marianna Gailus as Mrs. Hedda Tesman

Stephanie Machado as Mrs. Thea Elvsted

Austin Durant as Judge Brack

James Udom as Eiler Lovborg