Lauren B. Photography courtesy of the Jungle Theater
A Doll's House, Part II
In 1879, the Norwegian playwright Hendrik Ibsen wrote one of the most groundbreaking endings that any audience had ever seen on the stage. A Doll’s House shocked many when the lead protagonist, Nora, left her husband and children for a different life. This moment in time would forever be immortalized in theater as “the door slam heard around the world,” echoing the growing feminist movement.
Flash forward nearly 140 years and Lucas Hnath has written what happens when that door swings open again and the women that left is on the other side. A Doll’s House, Part II is still fairly new, closing on Broadway in 2017. The production starred Jayne Houdyshell and Laurie Metcalf as Nora. Metcalf even won a Tony for the role.
Now it's being produced at the Jungle Theater and picks up approximately 15 years after its predecessor. Nora has returned to her home and knocks on that same door where she left behind her children, husband and life. However the question that is left unanswered is why? What has she returned for?
The Jungle Theater has such an intimate stage and space that I can’t think of a better space to bring this story to life. The set, designed by Chelsea M. Warren, does exactly what it needs to do, letting the story and performances shine. I admire that they didn’t try to make this extravagant entryway of a house with unneeded set dressings. What is needed is the performers, some chairs, and of course the notorious and symbolic door.
Costume designer Mathew J. Lefebvre straddles the line of history with his impeccable costume designs, particularly with Nora and Emmy’s pieces. Emmy, Nora’s daughter, comes through the door and is revealed to the audience wearing a period-piece dress matched with fashionable sunglasses and a shoulder fur wrap. Nora’s costume, a stunning purple dress, contrasts with the brown and tan set so well, representing the splashy new life she's had since leaving. Whether it’s a real tattoo that wasn’t covered up or a fake tattoo placed with intention, Nora has one on her arm. It’s a small detail, but shows the sense of modernism that has infiltrated this play.
While impactful, A Doll’s House, Part II is fairly quick at just 95 minutes. Such a short play can give the audience less time to understand and relate to characters, but that is not the case with this ensemble of four. Together they all make great choices individually and as a group.
Steven Epp, who plays Torvald, injects the dry delivery of his lines with humor in a strong performance. Emmy, played by Jungle alum Megan Burns, is another example of how this play has taken a step into a more contemporary time, as she draws out some of her words like an 1800s version of a valley girl. Burns is superbly cast in this role and gives a captivating performance to watch. Emmy’s role is small compared to the rest, but I wanted to see so much more of her.
After watching Angela Timberman in the Guthrie Theater’s production of As You Like It, I’ve been waiting to see her perform again. I was not disappointed as she played the witty and comedic family nanny Anne Marie. Timberman delivers some of the biggest laughs, especially during her scenes with Nora. Their witty back-and-forth banter are some of the best scenes in the show. She brings such a blunt demeanor to Anne Marie that, if there's ever A Doll’s House, Part III, it should strictly feature her!
What is A Doll’s House–the original or sequel–without a phenomenal Nora. Christina Baldwin is a juggernaut in this role. Baldwin breathes new life into this character that so many of us know and makes her even more relatable to a modern audience. Immediately upon walking through that door, it’s apparent that Nora is a changed woman. Baldwin carries herself with a sense of accomplishment after Nora has become a successful author. She almost never leaves the stage from that moment–a true reminder of her sheer stamina. She never drops character or loses energy, and it’s spectacular to watch.
Something I appreciate about Baldwin is her ability to act through a moment of silence–respecting the moment without rushing the pause. We know exactly what Nora is saying through her subtle facial expressions and body language. Baldwin can give a master class in silent acting.
It’s not often we receive a sequel of a play, especially a Norwegian one that is from 1879. What is even more uncommon is that we get a successful sequel to a play. Walking into the show, if someone told me “This show is funny,” I would not have believed them. But to my pleasant surprise, it’s hilarious thanks to the modern language that playwright Lucas Hnath has written in the script.
While the show is more comedic than you’d think, it still offers similar themes from the first play. It even goes a step further, as Nora has been independent for 15 years and has been so successful she even offers to buy Anne Marie a house. The play is a second coming in terms of toppling the patriarchy. Bottom line: Since leaving, Nora has flourished. She succeeded where many assumed she would fail.
A Doll’s House, Part II is a powerful story that answers many questions we had after that door slammed for the first time. The Jungle Theater has one again proved that they are one of the premiere companies to tackle groundbreaking stories like this and one of the first in the area to do so.
A Doll’s House, Part II runs at the Jungle Theater now through February 23.
