Henrik Ibsen' s Hedda Gabler Norwegian play from 1890 has been relocated to 1962 Edgbaston, Birmingham, writes Esther Msimanga.

Robin French's adaptation is contemporary, location and names are changed however it lacks the emotional and powerful flair of the original.

Elisabeth Hopper's Heather Gardner also lacked the impact of the original.

Hedda was a character that audience's could sympathise with, her internal turmoil’s was transparent, a soul who was trapped in her circumstances however Hooper emerged as a bored housewife who got into mischief to keep herself occupied. Taking Second Wave Feminism into consideration Heather had more options at her disposal than that of being black mailed by Christopher Ettridge's Pergrinne Brand.

French appeared to have tried to forge a plot close to the original by ignoring women's right in the 1960s. Hooper's acting abilities were amazing but as an audience it appeared that French did not truly let her off her leash.

James Bradshaw's George Desmond brought the comical effect to the play, a nerdy, older mummy's boy. His physical appearance was far from the description of the original. Bradshaw was an older unattractive man married to a 'trophy wife' who married him for his material possessions. Hooper's character failed to manifest the importance of material possessions.

Bradshaw's George was initially manipulated by Hooper's Heather however towards the ending of the play he was stern and this appeared forced and unnatural.

The play relied heavily on stereotypes, knowledge of Birmingham and history with reminders that it was based in 1962 when the audience is reminded about Harold Macmillan's destruction of the British Empire. When marijuana was mentioned in the play it was associated with West Indians and the neighbourhood of Ladywood.

Genres were all infused together however failed to have the same impact.

Sean Hart's Alec Lambart certainly had the physical appearance of a struggling artist, in his leather jacket and unkempt beard. Lambart and Maisie Turpie's Dorothy Edwards agony regarding the loss of the manuscript was the most raw of emotions felt in the play and also when Heather ripped the manuscript it felt authentic and powerful.

The lighting throughout the play had an amazing shift between night and daylight and although the demise of Heather was not powerful, Rich Fisher use of red lights to symbolise blood gave it a bit more impact.

The most tormented character's in the original are Loevborg (Alec Lambart) and Hedda's (Heather) however the moments leading towards the end of the play lacked urgency and authenticity , this lead the ending to appear melodramatic.

The Old Repertory Theatre 14 - 28 March 2013 Tickets from £8 to £28m £8 to £28 Tickets from £8 to £28