“Marie Louise Willes gaze constantly seek away. She does not look directly into the eyes of those who speak to her. Her bare feet resist wherever she goes – and her hands can only overpower restless spirit by playing with weapons.”
“For this Hedda Gabler at Aarhus Theatre is a woman on the road to death. In the way the Serbian director Anja Susa has staged Ibsen’s anti heroine, there is a woman who could easily be a terrorist organizer or at least a suicide bomber in Europe today.”
“Anja Susa’s staging is highly stylized – and based on Julie Petrine Glargaards quite radical translation. All the characters in the play sits constant at a huge long table that fills the Scala stage in Helga Bumschs grotesque scenography. Here tablecloth been transferred swan ceiling painting from inside Aarhus’s large, magnificent scene – and here between swans and porcelain elephants are all witnesses to the downfall of urgency as Hedda realizes. No one stops her. It just seems as if the explosion is allowed to happen by itself. “

“First, it is bold and bold”.
“It’s fascinating. For fury is contagious. This Hedda Gabler was the angriest Ibsen in the woman’s memory. And the anger actually feels good. “

“In the recasting and the staging of Henrik Ibsen’s “Hedda Gabler” Anja Susa formed a frame around the character Hedda supported by references to both the Fall, The Last Supper and the Crucifixion, with threads in the present and roots in the past, with contact to the audience and respect for the naturalistic ‘fourth wall’”.

“Anja Susa’s staging is so – as expected – more modernist than classical.”
“Gradually, most of the story, and the stylistic staging feeds us constantly with new thoughts and ideas – the basis for interpretation, and Anja Susa gets in the way its “Hedda Gabler” to be much more inquisitive than narrative. She explores starring Hedda Gabler with the audience and not in front of the audience. “
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