‘A Doll’s House,’ Made Contemporary – The New York Times

What ? Sympathy for Torvald, the priggish, prejudiced bully who won ’ thymine allow his wife ’ s favorite sweets in the sign of the zodiac and doles out the housekeeping money as if she were 6 years honest-to-god ? The genius of this reimagined “ Doll ’ s House, ” which Mr. Edelstein besides directed, is that it forces us to re-examine not barely our ideas about a classical play but besides our smug assumptions about all the social change that would seem to separate us from Ibsen ’ s Norway. As it turns out, the one jar here and now has nothing to do with the relationship between Nora and Torvald — it comes when he agrees to give her childhood ally Christine a job at his bank without indeed much as an interview or a résumé. image

THE COUPLE Ana Reeder is Nora and Adam Trese is Torvald in the Ibsen classical, reimagined. The mod setting keeps the audience from detachment.

Credit…

T. Charles Erickson

differently, this adaptation feels perfectly plausible. Mr. Edelstein accomplishes his update by paring away incongruities in the textbook preferably than adding contemporary detail, and it never seems forced or stilted. Circumstances may have changed since Ibsen ’ s day, but people have not : a willful doll-wife who beguiles her man into giving her what she wants and a dot but condescending husband who sees her as an accessory — if you don ’ thymine happen to know such a couple, equitable check out the nearest newsstand. And if a doll-wife should walk away from her conserve, overbearing though he might be, her adorable kiddies and her secure home plate fair sol she can learn who she very is and stand on her own two feet, well, how would we react ? In giving “ A Doll ’ sulfur House ” a contemporary set, Mr. Edelstein makes Nora controversial again.

indeed, there was some distinct rumble at the post-performance discussion I attended. Most in the group were familiar with the play, but it seemed as if they had never very seen Nora before or grasped what she was doing. Ana Reeder ’ s performance as Nora paints a clear word picture of a womanhood you might not very want to spend time with, lending her a touch mix of craft and naiveté. This Nora is, as she must be, cute as a button ; but you feel there ’ s something unpleasant hidden behind all the chirpiness. When Nora tells Torvald at the end of the play that she has never been truly happy, it ’ south no surprise ; Ms. Reeder ’ second performance has intimated as a lot. Adam Trese ’ mho Torvald, on the early hired hand, is shocking, as he drops his affable facade and lashes out at Nora after discovering that her fiscal trickery has put their repute at risk. Until that point, he has seemed the solid, reasonable counterweight to her flighty giddiness. Their acquaintance Dr. Rank is normally played as an older serviceman, and a debauched one at that. But Tim Hopper appears to be the same long time as Ms. Reeder and Mr. Trese, and his pensive performance softens Rank ’ second edges. When he reveals his feelings for Nora, it ’ s possible to wonder for a moment if she might respond. And in casting the solid, peppery Linda Powell as Christine, Mr. Edelstein has altered our perceptions of this character equally well. She makes Christine less pathetic than usual and, possibly as a leave, somehow more calculate. even the villain of the piece, the manque blackmailer Krogstad, acquires nuance in Mark Nelson ’ mho layered depicting .

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