By ALAN SMASON, WYES-TV Theatre Critic (“Steppin’ Out“)
Henrik Ibsen’s A Doll’s House was first mounted in the fall of 1879, so there is little debate that the work could use a bit of timely updating. The original language is also outdated in that Dano-Norwegian is hardly ever employed and translating it into modern English can also be difficult.
Like many plays of the day and into the 20th century, a three-act work was de rigeur.
But today’s modern audiences want something that is accessible and oftentimes more streamlined.
Enter Amy Herzog, a successful playwright in her right who knows well the history of the feminist play and who is sensitive as to how to re-craft the work for today’s more sophisticated play goers.
Herzog’s adapted script utilizes modern language that frees it from the more formalized structure favored by 19th century playwrights, but the essence of the play is never diminished. In fact, the shorter form heightens the tension in a way that Ibsen himself may have chosen were he alive in this era.
Instead of a long, brooding work that inches along to its shocking ending, Herzog’s version of the Ibsen classic makes the case for Nora Herwald, played achingly full of angst and pain by Elizabeth Elkins Newcomer, as a wife who is unable to find happiness in her marriage to her clueless husband Torvald, played by her real life husband and fellow Crescent City Stage founder, Michael Newcomer.
That the couple has never played opposite on stage before is somewhat surprising. That they are playing Nora and Torvald in this production is fortuitous.
Michael Newcomer, who had initially planned on only handling the sparse scenic design called for in this new adaptation, had not planned on playing Torvald. He was forced to rethink that position when the original actor signed on for the role had to cancel. Newcomer plays Torvald as a man completely overwhelmed by society’s expectations for him and, therefore, for Nora.
He is her lord and master, although he is a benevolent taskmaster. While he insists on running a tight and orderly household, he offers Nora the services of Anne-Marie, a nanny (Rachel Whitman Groves), to give her free time from her two unseen children. As we learn at play’s end, she is willing to free herself even more from her offspring.
As Niles Krogstad, Doug Spearman plays the heavy and the embittered enemy of Torvald, who sees his way clear to exact vengeance upon him, if only to save his job and position. He places enormous pressure on Nora as the linchpin in this plot, but the plan goes awry when an old friend of Nora, Kristine Linde (Sue Jin Song) appeals to her for assistance.
Of course, what Niles cannot foresee is that while the plan doesn’t go exactly as planned, he cannot say in hindsight that the result was even better than he had conceived.
Spearman is a powerful presence on stage, especially in the scenes opposite Elizabeth Newcomer when he outlines what she must do in order for him to forgive her debt. Also, of note is Los Angeles resident Song, who appears in her first CCS production. A fellow Actor’s Equity member, she portrays Kristine well, allowing her many facets to shine. She appears at first to be a victim, but she is also an opportunist. With Kristine, we are never sure what her intentions may be.
Douglas Scott Streater is Doctor Rank, Nora’s true devoted friend and would-be lover, were she to have him. Streater portrays him as frustrated, but hopeful. But, as we learn, the hope is fading fast.
Directed by Jana Mastecky, this is a very smart production that breathes new life into a timeless work. The creative staff all do a magnificent job such as Zak Lanius on lighting and Amara Skinner on sound.
Henrik Ibsen’s “A Doll’s Life,” an adaptation by Amy Herzog, ends its run this week at the Marquette Theater on the Loyola University campus on Sunday, September 22. For tickets click here.
