Becoming Her Own Person

A Doll’s House – Raven Theatre

Henrik Ibsen’s groundbreaking, 19th century drama was, in its 1879 Danish premiere, considered shocking and controversial. The play was based on the life of his friend, Laura Kieler, and 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 2020 especially timely. In Ibsen’s play audiences witness a vital young woman becoming her own person.  

Nora Helmer, continually called his “squirrel” and “little songbird” by her husband, is treated by Torvald as his personal possession. He even says as much, telling his wife that she “belongs” to him. She’s like a pretty doll to be dressed up and played with, whenever the mood strikes. Finally reaching her breaking point, Nora bursts open and escapes her prison. At one time she was driven by her love for Torvald and a concern for his health. So Nora forged her father’s signature on a personal loan in order to fund an expensive trip to Italy, that her husband might get well. Now her crime has come back to haunt her as Nils Krogstad, the man from whom Nora secretly borrowed the money, 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.

The larger East Stage in the Raven Theatre is incredibly wide. It begs for the scenic designer to create a false proscenium with which to minimize the acting area and, perhaps for this play, create the feel of a dollhouse. Jacqueline Penrod’s sprawling, curiously designed, fifty-shades-of-gray, shelf and drawer infested set looks like a large library card catalogue. The scene is dotted with a few pieces of overstuffed furniture, a large stove and a massive, heavy sliding barn door leading to the foyer, where other characters will enter and exit from the outside. It’s an odd design choice, to say the least.

Several other behind-the-scene artists enhance this production. Izumi Inaba’s interesting black-and-white-and-gray period costumes lure the audience into a monochromatic world of 19th century, upper middle class blandness. This world is dimly lit by Becca Jeffords’ gaslight illumination and features a nicely-wrought sound design by Eric Backus. The production’s few moments of choreographed movement is the creation of the Ariel Etana Triunfo. 

Lauren Shouse returns to Raven, where she last directed productions of “Nice Girl” and “Betrayal.” With “A Doll’s House,” Ms. Shouse has guided a mostly vibrant, often exhilarating production that feels timely and contemporary. Ms. Shouse has managed to draw the theatergoer into this story, despite a ponderous, often wordy adaptation by Anne-Charlotte Hanes Harvey and Kirsten Brandt. The writers could well eliminate much of the endless repetitive banter, especially during the final, climactic scene, which would allow Ms. Shouse to really drive the story home. However, the director has still managed to stage Nora’s final moment with unexpected power, accompanied by Mr. Backus’ shrewd, evocative sound palette.

No newcomer to the Chicago theatre scene, lovely and talented Amira Danan portrays Nora with playfulness, power and a good deal of passion. Seen at the Goodman in “Bernhardt/Hamlet” and at Windy City Theatre in “Southern Gothic,” Ms. Danan is the true star of this play, as well she should. One of this actress’ assets is her beautifully expressive face, which often speaks louder than her words. When, near the end of the play, Nora finally finds her own voice with her husband, Ms. Danan makes an interesting acting choice: she becomes quieter and more cerebral. This actress is a songbird who sings with spirit. 

Gage Wallace makes his Raven Theatre debut in the role of Nora’s chauvinistic husband, Torvald. He may be remembered from Strawdog’s “Pillars of the Community,” as well as for playing Terry in Red Theatre’s production of the horrifying drama, “Taste.” In this play, Mr. Wallace is appropriately smothering and controlling, patronizing and manipulative, eliciting gasps and murmurs from many theatergoers with much of his dialogue. In other words, once again Mr. Wallace is excellent playing another smarmy antihero. 

The supporting cast is strong. Making his Raven Theatre debut, the real antagonist of this tale is played by Nelson Rodriguez, as the conniving and threatening Krogstad. The actor plays this villain with the dashing air of a roguish bad boy who piques the romantic interests of Christine, Nora’s former school friend. She’s played with vigor and determination by the excellent Shadana Patterson, also making her Raven debut. The scene in which Christine seduces Krogstad offers a variety of layers for this complex character and shows off Ms. Patterson’s talent.

Mike Dailey also makes his auspicious debut at this theatre as dour Dr. Rank. He provides some moments of black humor with his dry dialogue. The sad fate of this likable character is, strangely, bushed aside, partly due to the inopportune way in which Nora and Torvald learn of Dr. Rank’s tragic news. And Kelli Walker brings understated strength of character and understanding to her portrayal of Anne Marie. As a mother, who 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. Walker turns in a subtle performance as a woman tortured by a life-changing decision she made long ago.

In this dramatic production, the audience is given a chance to lose themselves in a new adaptation of Henrik Ibsen’s classic, 19th century feminist play. Translated and co-adapted by Anne-Charlotte Hanes Harvey and Kirsten Brandt, this version of the play could do well with some generous editing, particularly in the final scene. In revisiting Ibsen’s classic drama, however, audiences will be reminded how, while strides have been made in women’s rights since the play first opened in 1879, this play is still appropriate today. Lauren Shouse’s direction is wise, filled with empathy and spiked with energy. She gives life to the story of Nora, Tovald’s smothered little songbird, who he’s locked in their colorless, rambling house. When she makes the difficult decision to become her own person, the audience erupts in approval.

Recommended

Reviewed by Colin Douglas       

Presented February 6-March 22 by Raven Theatre, in their East Stage venue, 6157 N. Clark St., Chicago.

Tickets are available at the box office, by calling 773-338-2177 or by going to www.raventheatre.com.

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