By Lucas
Hnath
Directed by
Caroline Stacey - Designed by Imogen Keen
Lighting
design by Gerry Corcoran – Sound Design by Kyle Sheedy
The Street
Theatre 15th – 23rd June 2019
Performance
on 18th June reviewed by Bill Stephens
When Nora
makes the shocking decision to leave her husband and children in the final
scene of Ibsen’s “The Doll’s House”, a door slams and the curtain falls. Lucas Hnath’s 2017 play “A Doll’s House Part 2
“ takes up where Ibsen’s left off; with
a knock on the door; the same door that was slammed shut 15 years earlier.
In Hnath’s imaginings,
Nora is now a successful feminist author who, having discovered that her
husband, Torvald, has never executed her promised divorce has returned to
demand that he does. She faces recriminations from the housemaid, Anne Marie,
who brought up her children, and from her eldest daughter Emmy, who’s engaged
to be married. Nora’s demands also threaten to expose Torvald, who’s allowed
his friends to believe that Nora had died.
 |
| Rachel Berger as Nora |
Hnath’s play
consists of a series of duologues in which the characters challenge each other,
debating ideas of feminism, marriage, parental responsibility and fidelity. Seldom do more than two actors occupy the
stage at the one time. The arguments are fierce and fascinating. The script is
sprinkled with disconcerting colloquialisms. Anne Marie declares herself
“pissed off” at Nora, at one point.
 |
| Camilla Blunden (Anne Marie) - Rachel Berger (Nora) |
Caroline
Stacey’s gripping production embraces the anachronistic aspects of the script. Loud
knocks at the beginning signal the first confrontation between Nora and Anne
Marie. Played without interval, the five scenes are separated by thunderclaps of
loud music. Lighting changes colours as the actors re-arrange the only
furnishings – chairs - which Nora and Torvald hurl at each other during their
final impotent confrontation. Actors drink from plastic water bottles during
the play.
 |
| PJ Williams (Torvald) - Rachel Berger (Nora) |
Imogen Keen
has costumed the characters in handsome period costumes, although her striking setting
is sparse and determinedly modernistic, dominated by two huge windows framing silhouetted
figures - their backs to each other. The actors emerge and retreat through vomitoriums
on either side of the stage, emphasising the gladiatorial aspects of the play.
A platform which juts out into the auditorium allows the actors to address
their arguments directly to the audience.
Though best
known as a stand-up comedian, Rachel Berger proved impressive as Nora,
commanding the stage with a steely determination to achieve her goals at all
costs, making her response to Torvald’s final capitulation the more surprising.
As Nora’s cuckolded husband, PJ Williams fascinated with his finely honed
portrayal of Torvald’s inability to understand Nora’s frustrations, and Camilla
Blunden captured the right blend of servitude, indignation and wariness as the
housekeeper, Anne Marie, who finds herself unwittingly entwined in Nora’s
tactics. Rounding out a fine cast, Lily Constantine, as Nora’s daughter, Emmy,
unable to forgive her mother for deserting her, and fearful for her forthcoming
marriage, is magnetic.
 |
| Lily Constantine (Emmy) |
Lucas Hnath
has devised a fascinating play, here given a compelling production. It illuminates
Ibsen’s already intriguing characters and his ideas on burgeoning feminism. But
does it also hint at yet another sequel ? Why else would Nora leave her coat
and carpetbag behind when Torvald closes the door on her in the final scene ?
Photos: Shelley Higgs
This review also appears in AUSTRALIAN ARTS REVIEW.
