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Hedda Gabler () is a play written by Norwegian playwright Henrik Ibsen. The world premiere was staged on 31 January 1891 at the Residenztheater in Munich. Ibsen himself was in attendance, although he remained back-stage.Meyer, Michael Leverson, editor and introduction. Ibsen, Henrik. The Wild Duck and Hedda Gabler. W. W. Norton & Company (1997) . page 7. Though initial reviews were negative, it has since been canonized as a masterpiece of literary realism, 19th-century theatre, and world drama in general.Bunin, Ivan. About Chekhov: The Unfinished Symphony. Northwestern University Press (2007) . page 26Checkhov, Anton. Anton Chekhov's Life and Thought: Selected Letters and Commentary. Editor: Karlinsky, Simon. Northwestern University Press (1973) page 385Haugen, Einer Ingvald. Ibsen's Drama: Author to Audience. University of Minnesota Press (1979) . page 142
Hedda Gabler dramatizes the experiences of the title character, Hedda, the daughter of a general, who is trapped in a marriage and a house that she does not want. Hedda is considered one of the great dramatic roles in theater, and has been described as a female variation of Hamlet. (2026). 9781775416425, The Floating Press. ISBN 9781775416425
Hedda's married name is Hedda Tesman; Gabler is her maiden name. On the subject of the title, Ibsen wrote: "My intention in giving it this name was to indicate that Hedda as a personality is to be regarded rather as her father's daughter than her husband's wife."
The reappearance of George's academic rival, Eilert Løvborg, throws their lives into disarray. Eilert, a writer, is also a recovering alcoholic who has wasted his talent until now. Thanks to a relationship with Hedda's old schoolmate, Thea Elvsted (who has left her husband for him), Eilert shows signs of rehabilitation and has just published a bestseller in the same field as George's. When Hedda and Eilert talk privately together, it becomes apparent that they are former lovers.
The critical success of his recently published work makes Eilert a threat to George, as Eilert is now a competitor for the university professorship George had been anticipating. George and Hedda are financially overstretched, and George tells Hedda that he will not be able to finance the regular entertaining or luxurious housekeeping that she had been expecting. Upon meeting Eilert, however, the couple discovers that he has no intention of competing for the professorship, but rather has spent the last few years working on what he considers to be his masterpiece, the "sequel" to his recently published work.
Apparently jealous of Thea's influence over Eilert, Hedda hopes to come between them. Despite his drinking problem, she encourages Eilert to accompany George and his associate, Judge Brack, to a party. George returns home from the party and reveals that he found the complete manuscript (the only copy) of Eilert's great work, which the latter lost while drunk. George is then called away to his aunt's house, leaving the manuscript in Hedda's possession. When Eilert next sees Hedda and Thea, he tells them that he has deliberately destroyed the manuscript. Thea is horrified, and it is revealed that it was the joint work of Eilert and herself. Hedda says nothing to contradict Eilert or to reassure Thea. After Thea has left, Hedda encourages Eilert to commit suicide, giving him a pistol that had belonged to her father. She then burns the manuscript and tells George she has destroyed it to secure their future.
When the news comes that Eilert did indeed kill himself, George and Thea are determined to try to reconstruct his book from Eilert's notes, which Thea has kept. Hedda is shocked to discover from Judge Brack that Eilert's death, in a brothel, was messy and probably accidental; this "ridiculous and vile" death contrasts with the "beautiful and free" one that Hedda had imagined for him. Worse, Brack knows the origins of the pistol. He tells Hedda that if he reveals what he knows, a scandal will likely arise around her. Hedda realizes that this places Brack in a position of power over her, which he implies he will use to coerce her into a sexual relationship. Leaving the others, she goes into her smaller room and shoots herself in the head. The others in the room assume that Hedda is simply firing shots, and they follow the sound to investigate. The play ends with George, Brack, and Thea discovering her body.
Ibsen was interested in the then-embryonic science of mental illness and had a poor understanding of it by present-day standards. His Ghosts is another example of this. Examples of the troubled 19th-century female might include oppressed, but "normal", willful characters; women in abusive or loveless relationships; and those with some type of organic brain disease. Ibsen is content to leave such explanations unsettled. Bernard Paris interprets Gabler's actions as stemming from her "need for freedom which as compensatory as her craving for power... her desire to shape a man's destiny."Paris, Bernard. Imagined Human Beings: A Psychological Approach to Character and Conflict in Literature, New York University Press: New York City, 1997, p. 59.
A 1902 production starring Minnie Maddern Fiske was a major sensation on Broadway theatre, and following its initial limited run was revived with the same actress the next year.
Many prominent actresses have played the role of Hedda: Vera Komissarzhevskaya, Eleonora Duse, Alla Nazimova, Asta Nielsen, Johanne Louise Schmidt, Mrs. Patrick Campbell, Eva Le Gallienne, Elizabeth Robins, Anne Meacham, Ingrid Bergman, Peggy Ashcroft, Fenella Fielding, Jill Bennett, Janet Suzman, Diana Rigg, Glenda Jackson, Isabelle Huppert, Claire Bloom, June Brown, Kate Burton, Geraldine James, Kate Mulgrew, Kelly McGillis, Fiona Shaw, Maggie Smith, Jane Fonda, Annette Bening, Amanda Donohoe, Judy Davis, Emmanuelle Seigner, Mary-Louise Parker, Harriet Walter, Rosamund Pike, Ruth Wilson, Cate Blanchett and Katie Holmes.
In 1970 the Royal National Theatre in London staged a production of the play directed by Ingmar Bergman, starring Maggie Smith, who gained much critical acclaim and won a Best Actress Evening Standard Theatre Award for her performance. Also in the early 1970s, Irene Worth played Hedda at Stratford, Ontario, prompting New York Times critic Walter Kerr to write, "Miss Worth is just possibly the best actress in the world."
A 1973/4 Royal Shakespeare Company world tour of the play was directed and translated by Trevor Nunn, and starred Pam St Clement as Bertha, Patrick Stewart as Eilert Lovborg, Peter Eyre as George Tesman, Glenda Jackson as Hedda Tesman, Timothy West as Judge Brack, Constance Chapman as Juliana Tesman, and Jennie Linden as Mrs. Elvsted.
British playwright John Osborne prepared an adaptation in 1972, and in 1991 the Canadian playwright Judith Thompson presented her version at the Shaw Festival. Thompson adapted the play a second time in 2005 at Buddies in Bad Times Theatre in Toronto, setting the first half of the play in the nineteenth century, and the second half during the present day. Early in 2006, the play gained critical success at the West Yorkshire Playhouse in Leeds and the Liverpool Playhouse, directed by Matthew Lloyd with Gillian Kearney in the lead role. A revival opened in January 2009 on Broadway, starring Mary-Louise Parker as the title character and Michael Cerveris as Jørgen Tesman, at the American Airlines Theatre, to mixed critical reviews.
In 2005, a production by Richard Eyre, starring Eve Best, at the Almeida Theatre in London was well-received and later transferred for an 11½ week run at the Duke of York's on St Martin's Lane. The play was staged at Chicago's Steppenwolf Theater starring actress Martha Plimpton.
In April 2009, a modernized New Zealand adaptation by The Wild Duck starring Clare Kerrison in the title role, opened at BATS Theatre in Wellington. It was lauded as "extraordinarily accessible without compromising Ibsen's genius at all." BATS Theatre Hedda Gabler review, theatreview.org.nz
In 2010, Hedda Gabler was performed at the Theatre Royal in Bath, directed by Adrian Noble. The production starred Rosamund Pike as Hedda, earning praise for her "compelling and multifaceted performance, which highlighted both the vulnerability and manipulative strength of Ibsen's iconic character."
In 2011, the performance of a production of the play as translated and directed by Vahid Rahbani was stopped in Tehran, Iran. Article, farsnews.ir Rahbani was summoned to court for inquiry after an Iranian news agency blasted the classic drama in a review and described it as "vulgar" and "hedonistic" with symbols of a "sexual slavery cult." "Hedonistic Hedda Gabler Banned at Tehran Theatre", Yahoo News Article, tabnak.ir
In February 2011, a Serbs production premiered at the National Theatre in Belgrade.
A 2012 Brian Friel adaptation of the play staged at London's Old Vic theatre received mixed reviews, especially for Sheridan Smith in the lead role.
In 2012, Hedda Gabler was staged at the Royal and Derngate Theatre in Northampton, directed by Jonathan Munby. The production featured Emma Hamilton in the title role, with her performance receiving attention for its "emotional depth and complexity, capturing the struggle of Ibsen's protagonist."
In 2015, Hedda Gabler was staged at the Taras Shevchenko Dnipro National Academic Ukrainian Music and Drama Theatre in Ukraine. The production was directed by Diana Stein, with Nataliya Tafi in the title role.
The play was staged in 2015 at Madrid's María Guerrero. The production, which received mixed reviews, was directed by Eduardo Vasco and presented a text that was adapted by the Spanish playwright Yolanda Pallín with Cayetana Guillén Cuervo playing the lead role.
In 2016, Tony Award-winning director Ivo van Hove made his National Theatre debut in London with a period-less production of the play. This new version by Patrick Marber featured Ruth Wilson in the title role and Rafe Spall as Brack.
In 2017, a ballet interpretation of the play premiered at the Norwegian National Opera and Ballet under the direction of Marit Moum Aune.
Since May 2019, the play has been staged in the National Theatre, Warsaw, with Hedda portrayed by .
In February 2023, the play was performed at Mulae Arts Factory (문래예술공장) in Seoul, South Korea. The director was Song Sun-ho (송선호).
The play was part of the 2024 season of the Stratford Festival.
In February 2026, the play was performed at The Old Globe Theatre in San Diego, California. The adaptation by Erin Cressida Wilson starred Katie Holmes as Hedda with Charlie Barnett as George.
In March 2026, the play will be performed in Oslo, Norway in English for the first time by Oslo English Players.
An American film version released in 2004 relocated the story to a community of young academics in Washington state.
An adaptation (by Brian Friel) of the 2012 Old Vic production was the first broadcast in the United Kingdom on BBC Radio 4 on 9 March 2013.
In 2014, Matthew John also adapted Hedda Gabler starring Rita Ramnani, David R. Butler, and Samantha E. Hunt.
Andreas Kleinert adapted the story to early 21st century Germany in his 2016 film Hedda, starring Susanne Wolff and Godehard Giese.
Hedda, directed by Nia DaCosta and starring Tessa Thompson in the title role, was released in 2025.
In the Netflix animated show, Bojack Horseman, an episode features the main character putting on a stage production while in prison with inmates playing the roles.
An operatic adaptation of the play has been produced by Shanghai's Hangzhou XiaoBaiHua Yue Opera House.
An adaptation with a lesbian relationship was staged in Philadelphia in 2009 by the Mauckingbird Theatre Company.Zinman, Toby. "A Lesbian Interpretation of Hedda Gabler", Philadelphia Inquirer
A production at Princeton University's Lewis Center for the Arts featured a male actor, Sean Peter Drohan, in the title role.
Philip Kan Gotanda 'loosely' adapted Hedda Gabler into his 2002 play, The Wind Cries Mary.
A prostitute in the feature film is named Hedda Gobbler.
The 2009 album Until the Earth Begins to Part by Scottish folk indie-rock band Broken Records features a song, "If Eilert Løvborg Wrote A Song, It Would Sound Like This".
John Cale, Welsh musician and founder of American rock band The Velvet Underground, recorded a song "Hedda Gabler" in 1976, included originally on the 1977 EP Animal Justice (now a bonus track on the CD of the album Sabotage). He performed the song live in 1998, with Siouxsie Sioux,Archived at Ghostarchive and the
target="_blank" rel="nofollow"> Wayback Machine: and also in London (5 March 2010) with a band and a 19 piece orchestra in his Paris 1919 tour. The song was covered by the British neofolk band Sol Invictus for the 1995 compilation Im Blutfeuer (Cthulhu Records) and later included as a bonus track on the 2011 reissue of the Sol Invictus album In the Rain.
The Norwegian hard-rock band Black Debbath recorded the song "Motörhedda Gabler" on their Ibsen-inspired album Naar Vi Døde Rocker ("When We Dead Rock"). As the title suggests, the song is also influenced by the British heavy metal band Motörhead.
The original play Heddatron by Elizabeth Meriwether (b. 1981) melds Hedda Gabler with a modern family's search for love despite the invasion of technology into everyday life.
In the 2013 novel by Helen Fielding, Bridget tries and fails to write a modernized version of Hedda Gabler, which she mistakenly calls "Hedda Gabbler" and believes to have been written by Anton Chekhov. Bridget intends to call her version "The Leaves In His Hair" and set it in Queen's Park, London. Bridget claims to have studied the original play as an undergraduate at Bangor University.
The play is referenced in a short scene in the musical comedy A Gentleman's Guide to Love and Murder, where protagonist Monty Navarro tricks Lady Salome D'Ysquith Pumphrey, a terrible actress ahead of him in royal lineage, into shooting herself with real bullets at the end of Hedda Gabler to ascend to earldom.
In the 2025 film Babygirl, the husband of the protagonist is staging a production of Hedda Gabler, and his comment to his wife that the play is "not about desire, it's about suicide" suggests that he has also misunderstood his wife's secret desires.
In the 2025 film Hedda, the character Eilert Lövborg was gender-switched to Eileen Lovborg, and the story was set in England in the mid-1950s.
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