A Doll's House

Set in Norway, over three days at Christmas in 1879, in an upper middle-class home, this play covers the relationship between Torvald and Nora Helmer. In these times, women had very few rights which is somewhat alien to present day audiences. Torvald constantly belittles his wife and uses patronising pet names. Unbeknown to him, she has a secret, involving a forged signature, used to obtain cash to pay for some health care for him. The lender is a subordinate of her husband’s, namely Nils Krogstad. At the same time, her friend, Kristine Linde, needs money and Nora persuades her husband to employ her. This has the effect of displacing Krogstad resulting in his endeavours to blackmail Nora over her deceit in forging her late father’s signature to secure the loan.

There was the usual warm welcome from the Front of House members. The auditorium seating had been rearranged so that the main part of the set was immediately in front of the audience, with the stage being used as the entrance hall and Torvald’s study. There was seating for 100 and on the penultimate performance there were 50 patrons. It was good to see some teenagers, possibly who are currently studying Ibsen’s work. They were treated to a masterclass and it is a shame that the House was not full. The set was open and attractive with cleverly thought-out furniture, a smart front door with a well decorated and lit Christmas tree.

The programme in brown, black and white, gave an authentic, Victorian, sepia effect. It was very informative, with Director’s notes, a synopsis, rehearsal photographs and notes on the playwright.

Kevin Wilson and Rebecca Lennon as the two principals were outstanding. The rather wordy play relies on expression and intonation to keep the attention of the audience. Whilst this was helped by the cast being in such close proximity to the audience, together with strong, overhead lighting, credit must go to their superb acting skills. Rebecca Lennon was mesmerizing and gave a first-rate performance as she expertly transitioned from duplicitous and seemingly downtrodden to becoming her own woman. Kevin Wilson was excellent as he vacillated between pompous and patronising to vulnerable, whilst still maintaining credibility. The chemistry between them and the change in dynamics was a joy to watch.

Ness Law was utterly convincing as Kristine and she showed versatility in persuading Nora to help her and then using her feminine wiles in order to manipulate Krogstad. Philip Barker (Krogstad) performed with menace and cleverly maintained an air of arrogance throughout. He was very easy to dislike with his clipped tones and snarling expression when in discussion with Nora. Martyn Stanley, returning to the stage after some 15 years, played the lugubrious Dr Rank expertly as the ailing old man struggling across the floor with a stick, who, despite everything, brightened at the sight of Nora. It was good to see him back on stage.

Carolyn Ferguson and Anne Walpole in their cameo roles as Nursemaid and Maid, respectively, are also to be commended.

The closing scene, after much angst and passion saw Nora leaving her distraught husband. With a determined, yet slightly wistful expression on her face, this was perfectly highlighted by the clever opening of the bird cage that had been set on the stage. A brilliant ending!

This was a very brave choice of play but with an imaginative Director, an excellent cast, talented costume and set design teams, this all added up to an outstanding show. Huge congratulations to everyone involved.

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