 |
Andrea Syglowski & Sekou Laidlow in "A Doll's House"
(photo: T. Charles Erickson)
|
A
Doll's House, the cataclysmic work
by Henrik Ibsen, generally recognized as the father of modern drama,
is currently being presented by Huntington Theatre Company in a brand
new Adaption by Bryony Lavery, in its first professional U. S.
production. While many have proposed this as the first truly feminist
play, it was described by Ibsen himself as not being so limited in
scope, but more universal in intent, or as Director Melia Bensussen
has put it: “we all struggle to be our genuine selves while meeting
the needs of our society and our relationships” in the context of
modern false morality. It remains the most produced Ibsen play
throughout the theatrical world, as well as one of the most
frequently mounted works, period. While some aspects of the play
betray their age, the social struggles portrayed do not. With
respect to this production, one's assessment will depend greatly on
whether one is a purist or more open to a less traditional approach.
Lavery has all of the cast speaking colloquially, and Bensussen has
most of them delivering the lines at a fairly rapid pace, with
natural overlapping dialogue. It makes for a radically different
take, especially in its fluttering-bird depiction of Nora, that will
fascinate some and distance others. Since the societal issues
depicted by Ibsen no longer exist to the degree he portrays (in an
era before marriage counseling and ritalin), this updated effort will
have its champions and detractors, with few on the fence.
The story revolves around one simple, fateful, desperate
act, involving both forgery and embezzlement, by Nora (Andrea
Syglowski), in order to afford care for her husband, Torvald Helmer
(Sekou Laidlow). Faced with public disclosure and a potentially
ruined reputation, Nora submits to extortion by Torvald's colleague
Krogstad (Nael Nacer). She seeks advice from Dr. Rank (Jeremy Webb),
a friend to both Nora and Torvald, and discovers her childhood friend
Christine Linde (Marinda Anderson) is also in financial difficulties
and seeks a job with Torvald through Nora. The rest of the household
includes Nanny Anne-Marie (Adrianne Krstansky), the Maid Helene
(Lizzie Milanovich), and two Helmer children (alternating among
Zoe Adams Martin, Kinsaed Damaine James, Elise Rose Walker, and Gavin
Daniel Walker). Complications ensue when Torvald declares he is going
to fire Krogstad, and Nora finds she has to present Torvald with the
truth. His extremely negative reaction leads to her final act of
independence.
 |
The Set for Huntington Theatre Company's "A Doll's House"
(photo: T. Charles Erickson) |
Ibsen was a true prophet in his dissecting of the modern
middle-class conception of marriage. Rolf
Fjelde, in the forward to his famed 1965 English translation, quotes
Ibsen when he succinctly described his role: “to be a poet is to
see...but mark well, to see in such a way that what is seen is
perceived by his audiences just as the poet saw it”. Fjelde goes on
to state that this seeing is perceiving relationships in a social
context, especially the extended self in the moral order of the
cosmos, when Nora has her traumatic awakening and evolves into a
remorseless and independent heroine. What has been seen as
superficially photographic on the surface is actually a fusion of
perspectives, with Ibsen as a critic of society and the varied
intricacies of relationships. Ibsen's motivation was not to lecture,
but to bring human beings into existence, daring each “to think, to
feel, to question, to live”.
The play begins with Nora, but ends with Torvald, with
his short-lived hope that she would reconsider her final act.
Bensussen directs a stellar cast here, beginning and ending with the
terrific Syglowski, with support from Laidlow, Nacer, Krstansky and
the rest of the cast. The creative talents include unusual Scenic
Design by James Noone, varied Costume Design by Michael Krass,
Lighting Design by Dan Kotlowitz and Sound Design and Original Music
by Rob Milburn and Michael Bodeen.
Just imagine the state of that thunderstruck premiere
audience just before Christmas of 1879, unknowingly witnessing the
birth of modern drama with the grand slam of that door. A few years
ago a local production omitted that unsettling sound, rather like
cutting the “Rosebud” scene out of Citizen Kane. That
moment in this production is slightly altered (no spoiler here),
enough to mute that most iconic ending of some of its potential
power. Once again, if you're a more traditional theatergoer, this
won't please. If you're more receptive to innovation, this is a
total slam dunk.
No comments:
Post a Comment