Belasco Theatre 1997
NYC, New York
April 2, 1997 – August 31, 1997
Director: Anthony Page
Scenery: Deirdre Clancy
Costumes: Deirdre Clancy
Lighting: Peter Mumford
Sound: Scott Myers and John Owens
Adaptation: Frank McGuinness
Adaptation: Frank McGuinness
Greg Evans - Variety
Given what today's audiences might see as a crime of little import, productions of "A Doll's House" must first and foremost convince that everything Nora loves, indeed even her life, is at stake should her secret be revealed. And here again, McTeer triumphs in showing how deep Nora's pain and fear go. In one flawlessly directed scene she dances the tarantella to distract her husband from the ominous letter that reveals her secret, the dance building in tension and pace as Nora's hysteria mounts. Source
Ben Brantley - The New York Times
Ms. McTeer starts off with a mannered intensity some audience members may at first find grating. There's a glow of fever about Nora as she busily trims her comfortably appointed living room for Christmas. The laughter with which she punctuates her speech has a loonlike quality; she tries on different, silly voices like an eager-to-please comedian; she flaps her wrists in a way that dismisses what she's saying even as she calls attention to it.
It is a brave, risky conception that even comes across as grotesque at moments, a feeling underscored by the fact that Ms. McTeer is no doll-size ingenue but a woman of towering height and erotic presence. (She compliantly bends her knees for her long, frequent kisses with Torvald.) She's a fluttery geisha in overdrive, on call to entertain and make merry whenever her husband chooses to appear from his invincible fortress of a study. Source
Bonus! Video
Given what today's audiences might see as a crime of little import, productions of "A Doll's House" must first and foremost convince that everything Nora loves, indeed even her life, is at stake should her secret be revealed. And here again, McTeer triumphs in showing how deep Nora's pain and fear go. In one flawlessly directed scene she dances the tarantella to distract her husband from the ominous letter that reveals her secret, the dance building in tension and pace as Nora's hysteria mounts. Source
Ben Brantley - The New York Times
Ms. McTeer starts off with a mannered intensity some audience members may at first find grating. There's a glow of fever about Nora as she busily trims her comfortably appointed living room for Christmas. The laughter with which she punctuates her speech has a loonlike quality; she tries on different, silly voices like an eager-to-please comedian; she flaps her wrists in a way that dismisses what she's saying even as she calls attention to it.
It is a brave, risky conception that even comes across as grotesque at moments, a feeling underscored by the fact that Ms. McTeer is no doll-size ingenue but a woman of towering height and erotic presence. (She compliantly bends her knees for her long, frequent kisses with Torvald.) She's a fluttery geisha in overdrive, on call to entertain and make merry whenever her husband chooses to appear from his invincible fortress of a study. Source
Bonus! Video
