Written by Lucas Hnath
Directed by Joel Horwood
A Canberra REP production
Canberra REP Theatre, Acton to 28 June
Reviewed by Len Power 13 June 2025
When Nora famously slammed that door at the end of Henrik Ibsen’s acclaimed play, ‘A Doll’s House’, we were left wondering about Nora’s fate in such an inhibiting and disapproving society of the time.
The action in Lucas Hnath’s 2017 play, set 15 years later, gives us an opportunity to revisit Nora as she suddenly returns to the house of her husband, Torvald. Assuming she has been long divorced, she was shocked to find that her husband never filed the divorce papers officially, leaving her open to legal action for signing contracts, something a married woman was not allowed to do in that era. She has only returned to persuade her husband to file those papers.
This one act play in four parts focusses on each of the four characters in the play – Nora, her husband Torvald, the maid, Anne Marie, and Nora’s now grown-up daughter, Emmy.
The role of Nora, one that most actresses would aspire to play, is given a fine, multi-layered performance by Lainie Hart. Presenting as a strong, confidant woman determined to live her own way, her delivery of the dialogue and body language give hints that life has been a struggle. We know that attitudes will not change in her lifetime and Hart shows glimpses of the pain involved in her brave struggle. It’s a thoughtful and believable performance throughout.
Rhys Robinson gives a finely detailed performance of Torvald as an inhibited, emotionally damaged man who clearly has never moved on from his marriage to Nora or changed any of his attitudes that contributed to Nora’s leaving.
Emmy is played by Anna Lorenz as a young woman who seems to have her mother’s emotional strength but surprises both us and Nora with her determination to be married and live by the rules of society that Nora long ago rejected. Lorenz gives a strong performance in the role.
Elaine Noon is very effective as the long-serving maid of the household who finds herself torn between the demands of her job and her own feelings.
The suitably austere set was designed by Tom Berger and has a fine lighting design by Lachlan Houen. Helen Drum has provided attractive period costumes.
Director, Joel Horwood, has produced a tight show where the character work is highly detailed. Keeping the language contemporary added to the accessibility of this production which works on all levels.
Len
Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and
‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.
