She received the Tow Foundation Playwright-in-Residence grant at the Atlantic Theater for 2016-2017 for her play Tell Hector I Miss Him, premiering next season at Atlantic. Lázaro was also in Martyna Majok’s John Who’s Here From Cambridge at EST. In 2015 she was nominated for a Drama Desk Award for Outstanding Featured Actress in a Play in To the Bone at Cherry Lane Theatre. in Dramatic Writing from SUNY Purchase College, M.F.A. PAOLA LÁZARO (Isabela/Glenys) is an actress and playwright born and raised in San Juan, Puerto Rico. She has also appeared in the following television shows: Madam Secretary, TURN: Washington’s Spies, Allegiance, and Alpha House. Sofiya is a recent and proud member of the 52nd Street Project. Recently, she has performed in productions at Yale Rep and The Old Globe Theatre. Sofiya is also an alumna of NYU Grad Acting. She emigrated from Uzbekistan to New York with her family in 1990. She attended LaGuardia High School for Performing Arts and completed her bachelor’s in English Literature at Queens College. Count this latest rendition among the many missteps.SOFIYA AKILOVA (Stage Direction) is a tv, film, and theatre actor, and a writer. “Hedda Gabler” is the sort of classic that is produced again and again but all too rarely successfully. And the modernistic incidental score by PJ Harvey, while undeniably conveying Hedda’s emotional dissonance, seems out of place in the otherwise traditional period setting. The staging and the contemporary-sounding adaptation by Christopher Shinn are more crude than revelatory.

On the other hand, Paul Sparks, who delivered many riveting outsized performances on local stages, is uncharacteristically bland as Lovborg, Tesman’s rival both professionally and romantically.

Michael Cerveris overdoes Tesman’s haplessness to such a degree that it’s impossible to imagine what Hedda ever saw in him. Peter Stormare’s Judge Brack, whose implicit blackmailing of Hedda motivates her to her final act of desperation, is played strictly for melodrama. The principal supporting players seem to be inhabiting different theatrical universes. There is precious little modulation on display, with the result that one never feels any engagement for a character who clearly is meant to be more than simply a femme fatale. 'The Hunger Games: The Ballad of Songbirds & Snakes' Review: Jennifer Lawrence Is Sorely Missed in Dour Prequel Short on Excitementīut the performance, while perfectly respectable, fails to compel, despite the occasional welcome doses of humor she injects into her line readings. Parker effortlessly projects an air of neurotic intensity in most of her roles, so she would seem perfect casting for Hedda, whose misery over her loveless marriage to Tesman, a failed academic, results in tragically destructive behavior that is barely less shocking today than it must have been when the play premiered in 1891. The unevenness of the proceedings is particularly surprising because it has been staged by British director Ian Rickson, whose brilliant interpretation of “The Seagull” received raves on both sides of the Atlantic. Unfortunately, it stems less from the reckless malevolence of its unhappy title character than from the sense that the production seems perilously unmoored. There’s a real atmosphere of danger evident in the Roundabout Theatre Company’s Broadway revival of Henrik Ibsen’s “Hedda Gabler,” starring Mary-Louise Parker.

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