Nora

Nora

Cherry Lane Theatre

December 7, 2015

Photo courtesyj of Cherry Lane Theatre

The Cherry Lane Studio Theatre is the ideal location for the dark and intimate production of Nora, a stage version of Ibsen’s A Doll’s House, by Ingmar Bergman.  With audience on three sides in that small venue, everyone is able to obtain an up close and personal connection to the characters and their challenges.  The play is set in the time period of Ibsen’s original script, yet the location is not specified.  The subordinate role women play, although spoken about, is not portrayed through action.  We also do not see Nora interacting with her children.  Therefore, Nora’s decision to leave her husband and children at the end of the play is not as risky, shocking, or impactful as intended by Ibsen.

Jean Lichty and Todd Gearhart
Photo courtesy of Cherry Lane Theatre

Jean Lichty and Todd Gearhart are focused and thoughtful as Nora and Torvald.  Their relationship is strong, yet this adaptation lacks the playful “doll” aspect that is the basis for their attraction and marriage.  When Nora’s act of forgery is revealed, Torvald’s self-preserving reaction is clear and in the moment.  We do not, however, see Nora come to any realization in that scene.  Bergman holds off on Nora’s confrontation with her husband until later that night.  While he lies naked in bed, she awakens him, fully dressed, ready to leave.  Torvald is confused by her decision to walk out on him and the children.  He claims he is willing to change, yet she is unrelenting.  Torvald is victimized by her decision.  This feeling is heightened by director Austin Pendleton’s staging.  At the end of the play, Torvald is seated on the bedroom floor, naked and wrapped in a blanket from the bed. 

  

Jean Lichty and Larry Bull
Photo courtesy of Cherry Lane Theatre

The portrayals of Christine Linde and Nils Krogstad, by Andrea Cirie and Larry Bull, are dark and formal.  The sadness they carry due to their life experiences weighs heavy on them both.  The combination of this with their strong, palpable chemistry creates an intriguing storyline.

The hardship and despair in the lives of all the characters is evident and skillfully portrayed.  By the end of the play they are all cleansed of the guilt of their secrets and shame.  If this is Bergman’s intention, it is well directed and performed.  A journey to awakening, such as Nora’s, needs to have some sense of hope, awakening, and continuity.  Unfortunately, Bergman’s adaptation has stripped Ibsen’s play of those moments, leaving behind nothing more than a dark journey of loss and despair.

Domenick Danza

Ghosts

Ghosts

Almeida Theatre and Sonia Freidman Productions

BAM Harvey Theatre

April 18, 2015

Photo courtesy of BAM Harvey Theatre,
Almeida Theatre & Sonia Freidman Productions

Ahh… Ibsen’s women.  There is no doubt that we can include Helene Alving from Ghosts in that specific category of female characters, alongside Hedda Gabbler and Nora Helmer (A Doll’s House), who risk their wealth and reputation by defying the strict social norm.  There is, however, a certain plunge that Mrs. Alving takes that seems deeper.  Perhaps it is the years of deceit that she has contributed to that makes her more equal to the men at the start of the play.  Perhaps it is how every choice she has made is purposefully decided so to prevent her husband’s sins from affecting her son.  Any way you look at it, the Almeida Theatre and Sonia Freidman Productions’ Ghosts, adapted and directed by Richard Eyre, makes a resilient statement on the inevitability of the ghosts of our past overwhelming our future.

Charlene McKenna and Lesley Manville in Ghosts
Photo courtesy of BAM Harvey Theatre,
Almeida Theatre & Sonia Freidman Productions

When the orphanage Helen Alving (Lesley Manville) donated in honor of her deceased husband is near completion, she reveals the truth about his drinking and womanizing to Pastor Manders (Will Keen).  The intrigue intensifies as they discuss their suppressed, deeper feelings for one another.  Pastor Manders speaks firmly about how the laws of society and the laws of God need to be more than merely perceived as followed.  This theme is put into conflict when juxtaposed against the kept secrets and reality of the characters’ truths.  Helene’s son, Oswald (Billy Howie), returns from Paris and flirts with their housekeeper Regina (Charlene McKenna).  Helene’s statement about how she is more afraid of the ghosts of her past than the retribution of laws of God is brought into a clear focus when she admits that Regina is the illegitimate daughter of her husband, and therefore Oswald’s half-sister.  The plot thickens in complexity, without being soap opera-ish, as only Ibsen can skillfully pull off (fires, blindness from venereal disease, and of course, what Ibsen play is complete without complications due to insurance matters).  The play left me speechless and in awe of concerted storytelling, an effective adaptation, sharp directing, and amazing acting.

Photo courtesy of BAM Harvey Theatre,
Almeida Theatre & Sonia Freidman Productions

The set, designed by Tim Hatley, is unique and simple.  In the foreground is the sitting room.   Through an opaque backdrop the audience is able to see the dining room.  Through another opaque backdrop more upstage, is the exterior of the house.  The design offered a view of each room simultaneously.  The audience sees what goes on behind closed doors, where secrets are kept, unintended for other characters to see or hear.  It also creates a sense of haunting when lit by lamplight.  Peter Mimford’s amazing lighting design sets a mellow and evocative mood, as well as creates a strong sense of the time period, before electric light.

Will Keen, Billy Howie, & Lesley Manville in Ghosts
Photo courtesy of BAM Harey Theatre, Almeida Theatre & Sonia Freidman Productions

When I took my seat and read in the program that the play was 90 minutes without intermission, I was surprised and did not know what to expect.  The Ibsen play is three acts, still this adaptation remarkably tells the penetrating story shadowed with years of remorse and secrets in a concentrated amount of time with a spectacular cast of five.  Kudos to Richard Eyre.  The production is here from London and runs at BAM Harvey Theatre through May 3.  Don’t miss it!

Domenick Danza