A Doll House poses quite a few problems for anyone willing to take on the text. First would be the escalating nature of Dr. Rank’s infirmity. How sick is he? How far does it need to escalate? He is, after all, dying in the end. How do you show that on stage without distracting from the main action? Every production needs a letterbox that is noticeable but doesn’t divert from the entire set. The letterbox also needs to be see-through or have an indicator, something that Nora can’t hide so that Torvald can see it once Krogstad’s letter is delivered. The tarantella scene is one of the largest problems. This not a well-known dance, yet it is crucial as the climax of the play! It is also imperative to keep the play relatable, as it was written in 1879 and women’s rights have come a long way since then. The biggest problem by far, however is how to play Nora. Nora is very difficult because her personality supposedly changes between Act One and Act Two. It is of maximum importance that Nora be believable, even with her sudden and (not visible to the audience) change of heart.
The first issue for the Sam Houston production is deciding on a space. Because the play takes place in one room and has a small cast and an intimate nature, I think the Showcase Theater would be the best location for it. The next problem is making everything accurate to the period, as I would set my production in Norway in 1879. Anachronisms are jarring to me as an audience member and shameful to me as a director or dramaturg. The production would be one of the few “straight plays” to need a choreographer for the tarantella, which should also be as authentic as possible. A problem that is very unique to Sam Houston is the need for a sturdy door! The door slam at the end is very famous and can’t be pulled off night after night with the current Showcase door. Finally, we might get the word out about the content of the play. It’s not too scandalous in this day and age, but in a community that prides itself on family values, the ending might ruffle a few feathers.
Other productions have gotten very creative in order to solve the challenges Ibsen gives us in A Doll House. The Northern Stage production in 2008 featured a set with transparent walls, so that one could easily see all of the dimensions of Nora’s world, let alone the letterbox. Being able to see every aspect of her life allowed the audience to better believe the change of heart she has later in the play. Hiring a choreographer for the tarantella scene also seems to be a popular option, as both the Bated Breath Theatre Company and the Northern Stage credited one. Another popular option is to change the time period and country in which the play is set in order to make it more relevant to the audience. In January, the Infamous Commonwealth production was set in 1962 Manhattan, while Bated Breath and Northern Stage were set squarely in the 1950s.
Critics are very touchy about A Doll House. They seem to go into the theatre thinking something along the lines of “this is a classic, but an outdated one. I hope they don’t mess it up,” as though they’ve seen it all from this play before. Some critics walk out of the theatre pleasantly surprised while others shake their head and say “I knew they’d mess it up.” Casting seems to be a big factor. The critics most know the play and have an idea in their heads as to what they should look like. Any deviation and they are disappointed. The main difference between a good review and a bad one, however, is nearly always the way Nora is played. If they become thoroughly invested in Nora’s character and believe it when she has her epiphany, then they end up loving the show. If they think Nora is too infantile, not infantile enough or don’t believe the epiphany, the entire show loses stars. It’s unfair but true that the show’s success hinges almost entirely on Nora but it just goes to show how careful the director must be in casting.
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