British radio drama since the creation of the BBC in 1922 has often been in the form of adapted stage plays. This has led to disagreements about whether the non-visual representation of dramas written for the theatre produces satisfactory results. This article explores this question using Ibsen’s realist drama, Hedda Gabler. It is argued that the audio version is successful and enables the listener to ‘overhear’ whispered conversations and share Hedda’s domestic claustrophobia.