Hedda Gabler — you remember her, right? Daughter of a famous general? Recently married to a promising academic yet already a frustrated wife, prone to boredom and depression? Likes destroying lives and stirring up a lot of shit at parties? The title character of Henrik Ibsen’s 1891 play has been one of those theater roles that, like Macbeth or Mama Rose, is designed to test an actor’s mettle. Everyone from Ingrid Bergman to Cate Blanchett has taken a crack at it. Some have found themselves tripping over the psychological minefield of this modern woman trapped in a socially stifling environment. Others have kickstarted careers courtesy of Ms. Gabler. The attempt to leave your stamp on this landmark anti-heroine leaves you in tatters or elevates you to God-tier status.

Now Tessa Thompson

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