Hedda Gabler

When Hedda Gabler shoots herself at the end of this production, it’s more than just the stage with her cold designer apartment which carries on turning as if nothing had happened. Her husband doesn’t even notice what she has done. Hedda has become superfluous in this world of desolate prosperity, where her destructive, criminal energy is the only thing that makes her feel alive. This is a new kind of Hedda: not a hysteric, not an elegiac heroine, but in Katharina Schüttler a cold-eyed neoconservative “It-Girl” who doesn’t want anyone’s sympathy. Ostermeier convincingly transposes the play to the side streets of the Kurfuerstendamm.