A staging at the Hudson Theatre helmed by British director Jamie Lloyd and adapted by Amy Herzog separates Ibsen’s text from almost all material emblems.
, which opens tonight at the Hudson Theatre and stars Jessica Chastain as Nora, the question is made starkly minimal, separated from almost all material emblems. There’s no curtain, no backdrop, nothing really to indicate that the play is about to unfold in an apartment where Nora is hiding her debts from her husband amid their material comforts.
There’s an immediate sense in this production that Nora is not in control of her own destiny. But what is that destiny? If the trappings of a bourgeois life make up one of the central threads ofthe limitations imposed on women make up the other. It’s a testament to Ibsen’s text that these feminist questions feel as pertinent as the materialist ones.
Perhaps to emphasize their ongoing relevance, this production, helmed by British director Jamie Lloyd and adapted by, adheres to the minimal mode for the play’s duration. There are no 19th-century bustles or waistcoats pulling attention from the text and certainly no bonbons. As the play begins and the other characters swirl around her, Nora barely rises. Torvald circles his wife, his striding emphasizing her stasis.
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