Scandinavian writers, particularly of dark psychological crime series have become a very popular genre over the past decade or two.

Before that 19th Century renegade writer Henrik Ibsen was pretty much the only Norwegian name that dripped off the literary tongue.

Ibsen was indeed a trail blazer, exploring feminism before the term was even mooted in polite society. His two most famous plays are of course ‘A Doll’s House’ and ‘Hedda Gabler’ and many a famous name has played the leading ladies… over the years in hallowed theatres from Berlin to Broadway.

Picture by Graeme Braidwood Photography. s

I have seen many productions of both over my years in the visual arts, most of which I confess have made my eyes glaze over until the Crescent bowled me over with their stunning Stef Smith adaptation of ‘Nora- A Doll’s House’ last year.

Now they’ve done it again with this Patrick Marber version of ‘Hedda Gabler.’ It’s a veritable powerhouse of a show from lights up to walkdown where director Andrew Cowie has drawn the best performances from a cast of varying experience, enabling them to combine harmoniously. That is the main task for any good director and Cowie proves himself once again not just good, but a master.

Picture by Graeme Braidwood Photography. s

In brief the plot concerns newly-married Hedda’s boredom with her husband and the frugality of her new life when she was promised luxury and excitement. She starts to manipulate those around her and in turn becomes manipulated herself, ultimately culminating in tragedy.

Deronie Petifer gives Hedda’s Aunt Juliana depth of character with firstly a gushiness that usually ensures getting her own way, when this fails with Hedda, the prim mask drops showing rare vulnerability. Jack Hobbis totally captures Hedda’s starry-eyed academic husband Jorgen Tesman. He is far too much of an innocent to satisfy her needs or desires.

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William Hayes oozes a charm that conceals his guile in a riveting and at times chilling- outing as the cunning Judge Brack. James Tandy is every inch the perfect enfant terrible as Eilert Lövborg, Hedda’s handsome, alcoholic and academically brilliant ex-lover.

Beth Morrissey as Hedda’s friend Thea is suitably nervous and downtrodden from being trapped in an unhappy marriage. Marlena Brown makes her Crescent debut as Berte the housekeeper.

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Grace Cheatle simply triumphs as Hedda Gabler – she is on top form; making the most of every line be it a witticism, criticism or sarcasm. She speaks and we listen, she walks – or rather glides – in the magnificent crimson gown she never takes off and we follow.

Stewart Snape has costumed the show to perfection. From the men’s frock coats to the women’s gowns, it exudes grace and sophistication.

Cowie has directed it to be so in your face that at times you are within touching distance of the action. It is perfectly staged with a minimalistic set and audience on three sides.

Picture by Graeme Braidwood Photography. s

This is theatre at its best and the Sunday matinee audience echoed that with whoops of joy at the walkdown with mine amongst them. You won’t find a better show in town this week – unmissable!

Hedda Gabler runs at the Crescent Theatre until Saturday, October 25. Click here for times, tickets and more information.