The themes of Ibsen’s play A Doll House apply universally. Gender inequality, society’s ability to shame, unrequited love, man’s concern for reputation, the need for self-actualization and the need to love are all applicable to the whole of humanity: not just the residents of a little town in Norway. Thus, when casting the play there is a large amount of freedom in whom to cast in what roles. It all depends on the message you want to send.
Were I to cast A Doll House, I would go one of two ways in concern to gender: I could stick to the traditional genders, as written, and tell the tale of women living in a man’s world that has been told since the play was written or I could switch the roles entirely and make a new statement. What if it were a woman playing Torvald? What if she were to call her husband her little lark, her little squirrel? What if she were to underestimate him at every turn? It would certainly reflect society’s view of married men: just look at modern-day commercials. Married men are idiots, single men are gods. A female Krogstad would be a force to reckon with, her malice and spite would terrify the audience! I think, however, that would be using a play as a vehicle for a statement that was not intended to make. I would feel cheap, making that decision, because that statement is a matter for a different play. Not this one. In my play, I would keep the genders as they were written.
I think people of any race should be able to play any character with no problem, as race is not germane to the play. I would be careful, however, to not send a message with my casting that I did not intend on sending. For instance, if the obvious villain Krogstad were the only non-white actor in the show, how would that reflect? The same goes for Torvald, who reveals himself to be antagonistic. If Nora were the only non-white actress, would it be offensive for her to be a victim at the hands of white men for so long? If I were to cast the children as a different race than their parents, I wouldn’t be able to avoid raised eyebrows and whispers of Nora’s infidelity. While that would be an interesting angle, I don’t see it in her character: it’s just not my interpretation. Personally, I think the person that can perform the role the best should get the role, regardless of race but still treading lightly around implications certain casting choices could bring about.
When it comes to casting people with handicaps, there are a few roles in which it could work. Nora and Torvald have to dance the tarantella, so they would have to be physically able. Everyone else, I think, is fair game especially in the case of Dr. Rank. He already suffers from tuberculosis of the spine, so a paraplegic actor would be a wonderful and logical choice in that role. A handicapped Krogstad would add a new layer to the characters which would not be unwelcome. Torvald could not only dislike Krogstad because he is disgraced but with the addition of a prejudice on Torvald’s part. Krogstad’s stakes in keeping his job would be that much higher.
Finally, age is an issue that applies heavily in the show because it influences believability. Nora should be young, but not so young that she isn’t believable as a mother and wife of eight years. Mrs. Linde should be the same age because she went to school with Nora. Torvald should be the same age as or (preferably) older than Nora to make his condescension plausible. Krogstad should roughly be the same age as Torvald. Dr. Rank should be older than Torvald because it is said explicitly in the script. Actors should be around the ages they are playing by at least ten years to make the show believable. I would want to cast young children as the little Helmers because it breaks your heart more when Nora leaves small children than if she left adults playing small children.
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