Theatre Review: A Doll House, by Henrik Ibsen

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Theatre Review by Christina Manolescu</MARQUEE>

A Doll House’s set design is spare, with enigmatic images back-lit through light box screens, a succession of walls, draughty opening and closing doors, a uniformity of black on white reflecting the frigid Saturnalian darkness of a Norwegian winter.

In keeping with Costume/Set Designer, Eo Sharp’s minimalist backdrop and colour-scheme is the almost uniform costumery and facial pallor of the characters themselves. Contrary to traditional theatrical artifice, these actors present a bare-scrubbed naturalism, which is surely intentional, even bleak.

The introductory and incidental music — kudos to sound designer, Troy Slocum — resembles an exquisitely lyrical female ‘wailing’ that sets the scene for what is to come.

For we are entering the Helmer house of bleakness, insecurity, societal constraints and concealed threats. Only charismatic Nora (Alison Darcy) bravely attempts to bring a breath of life and laughter as she first appears onstage in (what must be) her ‘oft-worn, oft-repaired’ costume of frilly vibrant red.

Amongst Nora’s revolving ‘constellation’ of household characters are her three children and up-and-coming husband, Torvald (Andreas Aspergis), who is alternately exasperated by and besotted with her; Annie, her long-time, devoted yet patronizing servant (Debra Kirshenbaum) and family friend, the dying Dr. Rank (John Gilbert), who harbours a secret passion for her.

Nora’s sunshine world is unexpectedly poisoned by a dark shadow from her past, the blackmailing Nils Krogstad (expertly played by Chip Chuipka), who wields the power to denounce, destabilize, perhaps ruin them all.

Stately Christine Linde (Clare Coulter), significantly, Nora’s former teacher, plays a complexed Christ (or perhaps even demonic) figurine who appears on the Helmer’s doorstep — also significantly during the Xmas season, like a legendary Biblical comet on the horizon, at the precise moment that this family drama is set to implode.

Ironically, it is the harsh, suspicious, judgmental and autocratic Mrs. Linde who becomes the unlikely transformative catalyst of Destiny.

As the drama unfolds, it is she who morphs from financially destitute martyr-like spinster to tough-minded, decisive Dominatrix who seizes the cards of chance and (through motives whether benevolent or vindictive) deals them as she chooses.

In Ibsen’s nuanced world, though, none of these ‘Doll House’ characters are truly good or truly evil. Nora’s blackmailer Krogstad has legitimate grievances against the power figures in the Helmer household — Torvald and Nora. Having been wronged by them both, as he sees it, he refuses to go quietly without one final battle to preserve himself, his family and his ‘good’ name.

Director Peter Hinton’s modernist adaptation presents a language of easy colloquialism probably quite faithful to Ibsen’s original intent. The occasional ‘four-letter’ word expresses Torvald’s growing frustration in a situation that baffles and threatens him. Even his gauche attempts at love-making resemble rough and clumsy adolescent groping rather than marital tenderness.

Meanwhile, his wife Nora gives a thoroughly modern symptomatic portrayal of anorexia nervosa/bulimia. Despite her energetic public guise of being ‘bright, amusing, ditsy and adorable’, she becomes less and less able to control her gruesome terror of being unmasked.

Finally, when considering the classic ‘feminist statement’ in Ibsen’s drama — that of Nora finally electing to become a person in her own right, rather than go on existing as a necessary appendage to a man — take a look at this ambivalent portrait gallery of Ibsen’s ‘doll’ women.

Annie, the pregnant servant girl, forced to give up her own daughter in exchange for a secure life of domestic servitude to others. Mrs. Linde, sacrificed to a life of loveless drudgery in the service of her poverty stricken family. Nora, terrified of any threat to her own domestic bondage, almost to the bitter end resisting her dubious ‘liberation,’ her enforced ejection from the shifting ‘Garden of Eden’ that she at least knows in favour of a world beyond that she does not.

'A Doll House' is as relevant in the twenty-first century as it was in Ibsen's day.

Theatre Review by Christina Manolescu, Invisible Cities Network
MONTREAL January 2006 – In a season that sees The Leanor and Alvin Segal Theatre hosting three Artistic Directors from around the country and across the pond, The Segal’s AD Bryna Wasserman is eager to start 2006 with Peter Hinton, newly appointed Artistic Director of English Theatre at the National Arts Centre in Ottawa, at the helm of his adaptation of A Doll House. Joining Cabaret’s Steven Schipper (Manitoba Theatre Centre) and The Importance of Being Earnest’s Ben Barnes (The Abbey, Ireland’s national theatre), Hinton will undoubtedly continue to raise the bar; offering Montreal audiences an inspired and memorable theatrical experience.

Nora Helmer is a vibrant young housewife forced to save her husband Torvald's life by arranging for a loan without his knowledge and by forging a signature. The crime sets into motion a series of events that call the very validity of their marriage into question. Nora ultimately makes a controversial choice that continues to be debated by audiences to this day.

Peter Hinton is one of English Canada’s most respected directors, dramaturges and playwrights. He has directed over 70 productions of classical texts, operas and new plays, including all three parts of his trilogy The Swanne for the Stratford Festival of Canada where he served as Artistic Associate. Hinton is honoured to take part in the Ibsen centennial celebration with this production at The Segal Theatre, “A Doll House is remarkably fresh, dangerous and immediate, sexual, vibrant and alive. It is completely my kind of play - subtle, dangerous and resiliently committed to forging a new life. It is a play that for me is about rebirth: a spiritual 'awakening' within the modern world: its possibility, difficulty and danger.”

The bright, collaborative cast members recreating this classic are: Andreas Aspergis as Torvald Helmer (last seen in Porte Parole’s Seeds), Chip Chiupka as Nils Krogstad (also last seen in Porte Parole's Seeds), Clare Coulter as Mrs. Linde (a noted Canadian actor now Montreal resident), Alison Darcy as Nora Helmer (a sought after actor performing in many of this city’s companies), John Gilbert as Dr. Rank (a seasoned contributor to both Shaw and Stratford Festivals) and Debra Kirshenbaum as Annie (now back in her hometown, this marks Debra’s second Ibsen endeavour with Peter Hinton). The creative team includes such respected Montrealers as set and costume designer Eo Sharp, lighting designer David Perreault-Ninacs and sound designer Troy Slocum. Stage management includes returning favourites, Todd Bricker and Melanie St-Jacques.

Commonly performed under A Doll’s House, Peter Hinton chose the present title as a more accurate translation of the original Norwegian. He also felt that A Doll's House implied that Nora was the sole doll, whereas A Doll House suggests that all the players are like dolls in the house.

88.5 CBC Radio One proudly presents Sunday-@-the-Saidye with Errol Durbach

Join us for another season of intimate conversation and riveting lectures as The Segal excitedly welcomes Errol Durbach, Professor of Theatre Studies at the University of British Columbia. His publications on the plays of Henrik Ibsen include Ibsen the Romantic and A Doll’s House: Ibsen’s Myth of Transformation. Beginning just a few short years ago, Sunday-@-the-Saidye has evolved into a must experience event. Make Sunday mornings a day to really look forward to in the weekly calendar.

Monday Night Talkbacks presented by Pratt and Whitney Canada

As usual following the play, some of the actors and/or designers will remain on stage to take questions from the audience. Monday Night Talkbacks provides an intimate opportunity for audiences to engage up close and personal with the personalities bringing first class professional English language theatre to Montreal. Combined with lower rates for this evening, Monday night performances have become an outstanding package that true theatre buffs cannot resist.

Presented as part of the Sun Life Financial Performing Arts section of the Montreal High Lights Festival.

Tickets and Media Information

* Previews: February 5 1:30 pm February 6, 7, 8 8:00 pm
* Sunday-@-the-Saidye: February 5, 11:00 am
* Opening Night: Thursday, February 9, 8:00pm
* Run: February 5-26

Performances:
* Monday-Thursday, 8:00pm
* Saturday, 8:30
* Sunday, 7:00 pm
* Matinées: Wednesdays, 1:00pm / Sundays, 2:00 pm
* Box Office: (514) 739-7944
* 5170 cote St. Catherine Rd. http://www.saidyebronfman.org
* Admission 790-1245 http://www.admission.com