Matinee Wed 4 April
Words: Rachel Williams
★★★★☆
Inspired by a real event, A Doll’s House is the same powerhouse classic as it was in 1879. Unapologetic of it’s content and championed by feminists for its radical portrayal of women’s unequal position in society, it shines a light on chauvinistic, ‘paternal’ husbandry. Writer Henrik Ibsen was a dedicated supporter of women’s rights, critical of the patriarchal society he lived in. As a result, it is ironic that the play’s source – a Laura Kieler – was indignant of Ibsen’s use of her predicament, deeply resenting his actions.
Nora is happily married to Torvald, but not all is as idyllic as it seems. Resorting to drastic measures in the face of Torvald’s ill health, Nora went to the villainous Krogstad for a lone, but as time has gone on, the subterfuge falls foul of her girlish, romantic notions and innocence: “Is it wrong to want to save your husband’s life”. Yet the law does not recognise romantic notions. Indignant at being treated as a child, Nora comes clean to Kristine: “You are just like the others. They all think I am incapable of anything really serious…. You look down on me altogether, Christine.”
The role of Nora is challenging and Caryl Morgan handles it superbly, flitting from one emotion to the other at the start to reach the dignified condemnation of her treatment and hollow marriage at the end. The fabulous costumes follow her growth from the colourful doll-like wife into a plain and simple, decisive and mature woman. Torvald, powerfully played by Simon Dutton, is pure strength and masculinity. Uncomprehending in his chauvinism and paternal behaviour, thinking only of his position, not Nora’s fate.
Catrin Aaron as Kristine is outstanding as the older, worldly-wise friend who sees past Nora’s lies to become the devil’s advocate. Her reconciliation with Krogstad as her lover is heart-rending in its simplicity. As Krogstad, Llion Williams balances the villainous exterior with a warmer yet aggrieved individual to become the forgiving hero of the hour, leaving Nora and Torvald to their private pain. John Cording is Dr Rank, the ever present, strong, light-hearted friend with troubles of his own.
The audience surround the stage, enclosing the characters into a single room with four doors. There is little escaping the closeness and nowhere to hide. The lighting follows the use of an oil lamp, brought in to brighten the room and the mood.
A Doll’s House propelled Ibsen into the feminist arena and was a major advancement on his previous plays. Over a century later, its emotions are ever present and powerful, and its effects felt in today’s society as strongly as ever. A worthy production of Frank McGuinness’ new translation, from Clwyd Theatr Cymru and director Emma Lucia.