"Hedda Gabler" is one of Henrik Ibsen’s most insidious creations. The titular character can be seen as a symbol of female empowerment, an unfortunate example of a life that is stifled, or a manipulative harridan. Most times, productions challenge themselves by portraying her as a combination of all three.

The Hawaii Pacific University’s Theatre Program ably rises to this particular occasion with its rendition of "Hedda Gabler" at the Paul and Vi Loo Theatre. Joyce Maltby directs "a new adaptation" of the play by Jon Robin Baitz that makes the dialogue more comprehensible for contemporary audiences without sacrificing any of the flavor of 1890s Norway.

Hedda Tesman, whose maiden name is Gabler, is an unhappy newlywed, married to academic George Tesman and freshly moved into their new home. From the get-go she is restless, cranky, possibly pregnant and, most important, totally and oppressively bored.

Like a mouse that suddenly pre­sents itself to an extremely fidgety cat, in enters Eilert Lovborg, George’s professional rival and a recovering alcoholic. It seems Hedda and Lovborg had a previous relationship from which Hedda still feels sentiment, hurt or resentment. Whatever Hedda feels, her previous beau’s arrival sets in motion an audacious plan of action that will finally allow her to hold power over another being and "control someone’s destiny."

Not helping the situation is that Hedda is in possession of two pistols that used to belong to her father, and according to Chekhov’s law of relevance — when a gun is introduced, it must be used — things just aren’t going to end well.

The actors make the most of the opportunity to perform Ibsen with relish. Tony Nickelsen is appropriately blustery and neurotic as the poor, cuckolded and dense husband, George Tesman. Nick Barnum is appealing as Lovborg, Tesman’s tortured rival.

Steve Wagenseller is devilishly sleazy as Judge Brack, a family friend who is anything but. Catherine Leskovec wrings her hands in earnest worry as Thea Elvsted, a former classmate of Hedda’s and former flame of George’s who is now a possible lover to Lovborg.

Julia Ubrankovics positively owns the stage as the fabulously unhinged title character who is just a century too early for a much-needed Prozac prescription. The actress’s natural Hungarian accent only adds to the machinations that whirl through her daggers of venomous lines, making her practically sound like a James Bond villainess.

Whether Hedda’s motivations are caused by mental illness or pure evil, Ubrankovics fills her role with a constant, volatile danger that is unnerving yet eminently watchable.

Ibsen may seem like a safe and stodgy choice for a local college production, but "Hedda Gabler" is one of the most dynamic stage surprises of the season.