Maybe the golden rule doesn’t always shine so brightly
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| Photos by Lauren B. Photography |
The saying goes to “treat others as you would want to be treated,” but what if the way you want to be treated is entirely antithetical to what someone else would want for themselves? Whose opinion wins? How do you know what the best, fairest approach to such problems is?
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| Photos by Lauren B. Photography |
The question of conflicting moral priorities is at the heart of A Doll’s House Part 2, the brilliantly modern sequel to Henrik Ibsen’s classic 1879 play A Doll’s House. The setting is in the same domicile as the original, 15 years after Nora Helmer loudly slammed the door shut on her marriage, family and domestic life. Here, in a much sparser, colder version of that home, Nora has returned to officially close another door – that of an official divorce from her estranged husband Torvald. Nora has had no contact with her children or husband since she left, and as such bears tense reunions with Torvald, her daughter Emmy, and house servant Anne Marie. The play shifts between demonstrating each person’s perspective of what Nora’s absence has meant to themselves, to the family, and as a signifier of the state of the world at large.
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| Photos by Lauren B. Photography |
It’s a fascinating exercise in moral absolutism vs. modern sensibilities. Are people made to be monogamous? Do children really need two parents? Is it better to sever old, toxic connections entirely, even if it means leaving some of those you love behind – or do you owe it to everyone to stay in touch, even when it wounds you deeply? What do you owe a partner who doesn’t love you anymore? What do you owe a parent you’ve never really known? When is it time to prioritize your wants and needs over others regardless of the cost, and when should you suffer through it instead to benefit the collective good?
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| Photos by Lauren B. Photography |
It takes a strong, mature cast to tackle such deep questions (especially in only 90 minutes), but the Jungle’s group is up to the task. Shining as Nora is Christina Baldwin, a perfect choice for this role. Baldwin’s detailed, subtle acting flashes every one of Nora’s complex emotions across her face; you almost don’t even need the character’s biting monologues to follow the action on stage. Baldwin’s work is a masterclass in physical manifestation of emotion, and it’s hard to imagine the show without her. Angela Timberman is winningly straightforward as Anne Marie. Much like her work in the devastatingly good The Wickhams, Timberman melds a warm demeanor with a no bullshit attitude, and she’s an ideal center of gravity for the characters to hover around. Megan Burns is delightful as the snobbish, precocious Emmy. The second she stepped through the door I knew exactly what we were in for, and she provides some true curveballs even for those who are usually pretty good plot predictors. And Stephen Epp takes a well rounded approach to Torvald, helping the audience connect to his story even in his most outrageous moments.
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| Photos by Lauren B. Photography |
The set is much sparser than what I’m used to seeing at the Jungle, but it bears deceptive layers that I appreciated the longer the show went on. Chelsea M. Warren’s scenic design mimics the bellows of a view camera, a clever touch of concentric frames moving toward the aperture of *that door*, through which all the action is revealed. I didn’t like it when I first sat down but I loved it by the end; the clear focus built into the frame of the show itself made total sense to me. Mathew J. Lefebvre has designed a single costume per character, but boy does he make it count. The rich detail in each period-specific piece blossoms against the sepia-toned set, giving the audience time to appreciate even the tiniest movements. Marcus Dilliard’s lighting design is bright and clean, and Sean Healey’s sound design offers a fun if unexpected soundtrack to the show. Congrats overall to director Joanie Schultz for a crisp, punchy production that is sure to leave all audience members deep in thought.
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| Photos by Lauren B. Photography |
To be honest, despite my Norwegian heritage and general love of this kind of subject matter, A Doll’s House has never been among my favorite plays. Productions of it have always felt a little too staid and precious; most have left me in a snooze. A Doll’s House Part 2, however, was just the lightning rod I needed to reconnect with this material. It put my rusty logician skills to work, and I found myself inwardly exclaiming with agreement at each turn. It genuinely gave me some plot twist surprises and deep questions to ask of myself, and I always appreciate experiencing such thoughtful texts. As always, the Jungle provides us with an expertly executed production that will have the town talking for months to come. Word on the street is that tickets are selling quickly; for more information or to snatch yours before they’re gone on February 23, click on this link.
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| Photos by Lauren B. Photography |
