By Joseph Szalinski
Move over Chekhov, there’s a new gunslinger in town. Well, not necessarily new…his work has been around for quite some time, but no town in Western Pennsylvania is big enough for two pistoleros, so it seems that the “Scandinavian Shakespeare,” Henrik Ibsen, has found a home up north with Hobnob Theatre Company, and their production of Hedda Gabler, directed by Duane Peters, now running at their studio space in Butler, PA.
Made a legend from penning superb pieces of drama and kept relevant by references on the Netflix animated series Bojack Horseman, Ibsen has left quite a legacy, particularly with this trigger-happy tragedy. The true timelessness of his work is on full display with modified lines that don’t leave the story tied down to one era, being an example of the “theatre of here and now,” as director Duane Peters puts it.
Natalie Spanner is phenomenal as Hedda Gabler/Tesman, the show’s troubled titular character. Plagued by boredom, Hedda resorts to manipulating people like they are toys in a doll’s house. Employing expert prowess every time on stage makes Spanner’s performance so engaging. Her moments in the mirror, for instance, gradually become as sinister as her deceit over the course of the show. Beyond the malicious aspects of the character, she does a terrific job succumbing to sadness or reveling in rendezvous, showcasing her range.
Eilert Lovborg, Hedda’s former fling and an enemy of the people for his drunken antics, is brilliantly embodied by Jack Senske. Charming during spirited dialogue and wildly entertaining when enraptured by vicious vice when out with the “Brack Pack,” Senske’s interpretation of the genius scribe and wild duck of the bunch is incredible.
Daniel Williams delights as George Tesman, AKA Gabler’s knob, Hedda’s academically inclined husband who’s so caught up in his research, he fails to notice the machinations of those closest to him. Stimulated by his special interest: books, he cocoons himself in the glory of ghosts; triumphs of titans of the past while the pretenders amongst his friends actively conspire to ruin his life.
Judge Brack is brought to life by Kevin Vespaziani, who uses both voice and physicality to delve into the calculated creepiness of his character. An assumed pillar of society, Vespaziani slowly erodes that façade with a performance that enthralls and unsettles.
Jocelyn Hillen, Jennifer Sinatra, and Danyle Verzinskie are great as Juliana Tesman, Thea Elvsted, and Berta, respectively. This talented trio not only seamlessly supplement scenes, but they also have their own moments to shine. Hillen harnesses emotional vulnerability as a doting aunt who never recovered from her brother being stuffed inside a burial mound; Sinatra’s similar strength is her desperation; while Verzinskie offers advice and insight when not keeping the house in order.
Technical flourishes elevate this production. Jadelin Kirkvold serves as stage manager in addition to handling props and helming the lighting and sound consoles, helping to make the environment more immersive. There’s even a coziness the faux house has, despite the chaos within the walls, that lulls audiences into accepting the onstage events as reality.
While Hobnob does a fantastic job of putting on original productions and doing things outside of traditional theatre, they also excel in putting their spin on classic plays. Typically, their brand is The Bard, however, a few other public domain playwrights sneak in. As much as Hobnob loves comedy, as evidenced by their improv and stand-up events, drama is something they know how to do really well. The rest of their 2025 season will certainly serve as a testament to that.
-JS
Hedda Gabler runs March 28-30; April 5-6 at Hobnob Studio Theatre in Butler, PA. For tickets and additional information, click here.
Nice review JS