Nora: A Doll’s House at the Young Vic review ****

Nora: A Doll’s House

Young Vic Theatre, 10th February 2020

It is not difficult to see why theatre-makers, and audiences, continue to be drawn to drawn to Ibsen’s masterpiece, now over 140 years old. First and foremost, there is the still extraordinarily powerful message. Just think what old Henrik would have written if he had actually set out to write a feminist manifesto and not used the real-life experience of a family friend. Then there are the complex fully rounded characters, not just Nora herself, but Helmer, Rank, Kristine, Krogstad and Anne Marie, a mixture of good, bad and indifferent, shaped by, and shaping, the society they are immersed in. Of course, our sympathies are drawn towards the women’s predicaments, with indignation reserved for the patriarchal men and the way they treat those women, but, as ever with Ibsen, there is plenty of grey to ponder in between the black and white. Then there is the plot. Enough twists, believable disclosure, that ending, getting close enough to melodrama to please even the casual theatrical punter but offering enough pleasure to those who seek repeated viewings.

And then there is its seemingly infinite elasticity. We may have moved on from the stifling morality of late C19 Norwegian society and the “exclusively male society, with laws made by men and with prosecutors and judges who assess feminine conduct from a masculine standpoint” that HI observed, but his skill and intention in framing a more universal message of personal freedom and self-expression is, if anything, even more relevant in our world today. As last year’s queer reworking of the play, in Samuel Adamson’s Wife at the Kiln Theatre, demonstrated. (He has previous with reinterpretation of the play, though with psychology rather than gender, in his 2003 adaptation at the Southwark Playhouse).

I am still most drawn to those interpretations which stick closely to Ibsen’s structure, plot and characters though am always up for an interpretation that shifts time, place and/or look. The best of the recent crop was Tanika Gupta’s resetting to colonial India at the Lyric Hammersmith, recently streamed for one day only. Going further back I gather the 2009 Donmar production from Zinnie Harris was a bit of a damp squib despite a stellar cast, (Anderson G, just seen on the NT/YV stream as a peerless Blanche Dubois, Stephens T, Lesser A, Fitzgerald T and Eccleston C). I would certainly have liked to have seen Thomas Ostermeier’s hand grenade reworking based on what he did with Hedda Gabler just shown on the Schaubuhne Berlin streamfest.

Mind you, from the sound of it, the Royal Exchange outing from 2013 sounds like it would have been my glass of akevitt, with Greg Hersov in the director’s chair using Bryony Lavery’s reliable adaptation and with Cush Jumbo as Nora. (I do so hope we will get to see her Hamlet at the YV though I am not holding my breath – oops quite literally as I write this they have had to can it pro tem). Completing the history lesson Nora’s last visit to the Young Vic itself was in 2012 I believe with Hattie Monahan courtesy of Carrie Cracknell which I will watch one day soon on a streaming service near me.

And so to Nora: A Doll’s Hose. This re-think, from Stef Smith (Human Animals, Royal Court), by way of Glasgow Citizen’s Theatre, offered more than enough to chew on. As you probably already know , this comment coming a full 2 months and change after the production closed, (just a week or so early as the curtains came down everywhere), her big idea is to offer us three different Noras: from 1918, the year women finally git the vote, 1968, the “Sexual revolution” and the introduction of the pill, and 2018, the dawn of MeToo., against a backdrop of austerity Britain Though with one actor, Luke Norris, as husband, in a quick-change, of character as well as costume, masterclass.

We gain in Nora dimensionality, as social and, notably, economic context and mundane duty, especially childcare, are fitted to period. 1918 Nora (Amaka Okafor), is patronised, yet remains dignified, in her care of war-damaged Thomas 1, 1968 Nora (Natalie Klamar) is a bundle of nerves, popping pills, bullied by Thomas 2 and 2018 Nora (Anna Russell-Martin), weighed down by debt and childcare seeks solace in drink, Thomas 3 being abusive and bugger all use. Stef Smith cleverly finds ways to keep the broad brush strokes of HI’s plot visible and the choreography of Elizabeth Freestone’s direction, (and especially EJ Boyle’s movement), through Tom Piper’s skeletal set, signifying door and not much more, beefed up with Lee Curran’s lighting and Michael John McCarthy’s sound/composition, as we zip back and forth in time, is remarkable.

However with Mark Arends tripling up as xx Nathan, Zephryn Tattie as xxx Daniel and the three Nora leads also interchanging as her mate, and, in the swinging sixties lover, Christine, it can, even with excellent performances all round (wrong to have favourites, but most impressively, Anna Russell-Martin) it does get a bit breathless with, er, breadth supplanting depth of character. No question it works as innovative theatre making and it conveys its feminist message smartly with rhythm in words and actions, bar a rather maladroit coda. We, the SO, BUD and KCK, could have done with a pie and a pint to discuss further in what, it transpired was our last pre-lockdown outing. But it could have done with drilling down further, and more finely, into the detail of the thoughts it provoked. Maybe in a more focussed, original, contemporary, play with just a faint echo to the Ibsen that Stef Smith so plainly, and rightly, is inspired by.

That’ll be it for Nora this year I think. The Tourist’s annual outing to Amsterdam and the ITA to see Robert Icke’s Children of Nora was a casualty of our times, though the Jamie Lloyd production based on Frank McGuinness’s adaptation and starring Hollywood royalty Jessica Chastain is still planned for July. We’ll see.

Wife at the Kiln Theatre review ****

Wife

Kiln Theatre, 3rd July 2019

How difficult can it be to get to Kilburn? Very it would seem if you are the Tourist, this being the second time this year that he has missed the start of a matinee performance, (and having cut it perilously fine on another occasion). Message to self. Stop twatting about with the Overground and buses to get here and stick to the Jubilee.

Anyway it was a somewhat frustrating idea to watch the first scene of Wife on the tiny black and white stage telly, however accommodating the ever friendly front of house. Aussie Samuel Adamson’s latest play, (you may know him from The Light Princess musical at the NT of his Chekhov/Ibsen adaptations), is an intertwining affair which examines the relationships of four couples from 1959 to an imagined 2049. Ibsen is the stepping off point. Specially A Doll’s House, (there is a lot of Doll’s House inspiration coming up, see the Lyric Hammersmith, the Young Vic and International Theater Amsterdam).

After that scene and the infamous door slam, Wife opens with stiff-necked Robert (Joshua James) properly wound up after the performance, which he sees as an attack on the sanctity of marriage. His wife Daisy (Karen Fishwick), who dragged him along, doesn’t agree. She is in love with Nora the character and yearns for a similar freedom. Things ratchet up when we find out she is also in love with the actress, Suzannah (Sirine Saba) who plays Nora in the production. This is the scene I missed “live” but it was still plainly a compelling set up even if I couldn’t completely follow the subsequent ding-dong exchange of ideas and feelings between these three characters .

Next up 1988 and a couple of young gay men, with something of a class difference, the posh, volatile Ivar, (Joshua James again, named after one of Nora’s children), railing against the straight world, Thatcher and Section 28 and the younger, not-yet-out Eric (Calam Lynch) . They have retired to the pub after a Norwegian language version of the Doll’s House, and, after some exquisite verbal jousting, are joined by another Suzannah. On to 2019 and Clare (Karen Fishwick again) and Finn (the versatile Joshua James) who are at the Kiln Theatre bar (!) waiting for ….. well not the Suzannah who breezes in from the avowedly queer production of A Doll’s House being staged but Ivar, now 58 (Richard Cant, who also plays Peter in the first Doll’s House and the pub landlord in Scene 2), now bruised by life, and, after a while, his younger husband, bitchy actor Cas (Calam Lynch again). Clare and Ivar, as you pretty quickly surmise are connected.

And, in a final meta flourish, the finale is set in 2042, with an extract from a naturalistic play featuring Daisy, Robert, Suzannah and Marjorie (Pamela Hardman), a dresser. Now the whole point of this journey through time and coupledom is to show we are no closing to reconciling the struggle between the need to explore individual freedom, and the desire for equality, in domestic relationships, than Ibsen and his characters were in 1879.

In other hands this have could have become more than a little tricksy or worthy or muddled, but Mr Adamson pulls it off largely through the quality of his dialogue, they are some terrific lines and witty observations, and the way in which the cast it self has to shift pretty radically between the characters, even those that are linked by family ties, notably Joshua James (who has a knack of standing out in smaller roles in previous productions that the Tourist has enjoyed), Karen Fishwick (following her RSC stint, a fine Juliet, and Our Ladies from NT Scotland) and Calam Lynch (whose Claudio in the Rose Kingston’s Much Ado attracted disproportionate attention from LD, and not just for his acting talent). All three young actors served up really fine performances.

Of course it helped that Kiln AD Indhu Rubasingham took the chair herself lending customary energy to the production and papering over the cracks when words and actions pushed a little towards the artificial: these people don’t really do reflective silences. Richard Kent probably had more fun designing the costumes that the somewhat unremarkable set, as did Alexander Caplen with his sound contribution and Guy Hoare with lighting.

The proper reviews were, rightly, pretty positive overall. I have a very strong feeling that this will not be the last we see of this play.If so the Tourist will make damm sure he turns up on time.