A Caged Songbird

A Doll’s House – Writers Theatre

A program note states that a theatre is a charged space, filled with energy and anticipation. Rather than being invited to sit back and relax, the audience is urged to lean forward and engage in the story they’re about to experience. This is sound advice for a groundbreaking, 19th century drama that was, in its 1879 Danish premiere, considered shocking and controversial. Henrik Ibsen’s play, which was based on the life of his friend, Laura Kieler, depicts how Victorian women lacked opportunities for personal fulfillment in a male-dominated world. Although times have changed significantly, equality among the sexes is still an issue everywhere, which makes this production in 2019 especially timely.  

Nora Helmer, continually called his “little songbird” by her husband, is treated by Torvald as his personal possession. She’s  like a pretty, little doll to be dressed up and played with, whenever the mood strikes. Finally reaching her breaking point, Nora breaks out. Once motivated by her love for Torvald, and a concern for his health, Nora forged her father’s signature on a personal loan in order to fund an expensive trip to Italy. Now her crime has come back to haunt her as Nils Krogstad, the man with whom Nora secretly did business, and now a dismissed employee at Torvald’s bank, shows up at the Helmer’s door. He threatens to expose Nora’s unlawful act to her loving husband unless she can persuade Torvald to rehire him at the bank.

Staged in-the-round on Arnel Sancianco’s simple, yet elegantly adorned scenic design, the set subtly has the look of a birdcage. Festooned with overstuffed furniture, wall sconces and chandeliers, there are doors off each aisle to foreshadow the coming-and-going of the others characters, as well as Nora’s final exit. Director Lavina Jadhwani, whose work at Writers Theatre was last seen in a stirring production of “Vietgone,” keeps the audience fully-engaged and this drawing room drama. She’s guided a vibrant, exhilarating production that feels contemporary at times. Ms. Jadhwani has easily managed to draw theatergoers into this story, partly due to the exciting, streamlined, 90-minute version of this three-act play, adapted by Sandra Delgado and Writers Theatre artistic director Michael Halberstam. The script eliminates much of the repetition found in the original play and forcefully drives the story home.

The production is enhanced by several other unseen artists. Izumi Inaba’s delicious, period-perfect costumes lure the audience into the world of 19th century upper middle class splendor. This world is warmly lit by Sarah Hughey’s gaslight illumination and features a nicely-wrought sound design, created by Thomas Dixon. The production’s intimacy and movement, ever so subtle and appropriate, is the creation of the ubiquitous Gaby Labotka.
Somewhat of a newcomer to the Chicago theatre scene, talented Cher Alvarez portrays Nora with the delicacy of a living doll who gradually finds her own voice. Last seen in Drury Lane’s “And Then There Were None,” and Steppenwolf’s riveting “La Ruta,” Ms Alvarez makes her distinguished Writers Theatre debut in this iconic role. Greg Matthew Anderson returns to Writers Theatre in the role of Nora’s chauvinistic husband,  Torvald. He’s appropriately smothering and controlling, patronizing and manipulative, eliciting gasps and murmurs from many theatergoers with much of his dialogue. In other words, Mr. Anderson has done a great job playing this smarmy antihero. 

The supporting cast is, as always at Writers Theatre, first rate. As the real antagonist of this tale, Adam Poss is conniving and threatening as Krogstad, with the dashing air of a bad boy rogue who, obviously interests Christine, Nora’s old friend from school. She’s played with strength and determination by the excellent Tiffany Johnson, last seen in Writers’ production of “Ma Rainey’s Black Bottom.” The scene in which Christine  seduces Krogstad offers many different layers for this complex character and shows off Ms. Johnson’s talent. Bradley Grant Smith makes his auspicious debut at Writers Theatre as dour Dr. Rank. He provides some moments of welcome black humor with dry delivery of dialogue. The sad fate of this likable character is, strangely, bushed aside. This is partly due to the inopportune method and  moment when Nora learns of Dr. Rank’s news. And Amy J. Carle brings a strength of character and new level of understanding to her portrayal of Anne Marie. As a mother, who long ago gave away her own child, so that she could be Nora’s governess, Anne Marie is a pensive and pathetic character. Now a governess and housekeeper for Nora and Torvald, Ms. Carle turns in a beautiful performance as a woman tortured by a life-changing decision she made long ago.

In this intimate production, staged up-close-and-personal at Writers’ smaller, arena-style Gillian Theatre, the audience is afforded every opportunity to “lean forward and engage” themselves. This new, streamlined adaptation of Henrik Ibsen’s classic, 19th century feminist play, was skillfully co-adapted by Sandra Delgado and Michael Halberstam.

Through this drama, audiences will see how, while many strides have been made in women’s rights since the play first opened in 1879, this play is still auspiciously appropriate today. Lavina Jadhwani’s direction is smart and dynamic, always keeping this story in motion. She brings to life the point in which Nora, Tovald’s little songbird, who he keeps caged in this doll’s house makes the difficult decision to become her own person.

Highly Recommended

Reviewed by Colin Douglas   

Presented September 25-December 15 by Writers Theatre, 325 Tudor Court, Glencoe, IL.

Tickets are available at the box office, by calling 847-242-6000 or by going to www.writerstheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.