Lucas Hnath’s A Doll’s House Part 2 is a sequel to Henrik Ibsen’s 1879 play which picks up the action some 15 years after Nora Helmer (Laura Hill) walked away from her husband Torvald Helmer (Stephen Butterworth) and children.
Nora returns to the family home because she has just discovered she is still married to Torvald as he never actually divorced her despite promising to do so.
In 19th Century Norway, men can easily divorce their wives but the rules are far more complex for a woman desiring to end a marriage. Of course in returning, Nora must confront and be confronted by the people she abandoned long ago. This includes Torvald of course but also her now adult daughter Emmy (Danyelle Mealings) and the family’s aging nanny Anne Marie (Maya Dalziel)
Each of them have their own challenges for Nora. Anne-Marie deeply cares for her but is angry that she had to ‘clean up’ the mess Nora left behind on leaving. Emmy is initially welcoming of the mother of whom she has no real memory, yet as the conversation continues her barbed questioning of Nora shows a distinct sense of betrayal. Torvald is still bitter and resentful and initially has no desire to help her, not just because of that anger, but also because there will be legal ramifications for doing so.
What is clever about this play is that it is very hard to pick sides. In some ways it ought to be easy to empathise with Nora because we live in an age where personal freedom and the pursuit of one’s own path through life is something many of us take seriously. We might still judge her for leaving, but we might also have a better understand of the reasons why.
Looking at Nora therefore we can be sympathetic, yet 15 years later she is still putting her own needs above those of her family and she is, frankly, manipulative. Torvald is hostile and his reactions are in a way justified, but his manner and lack of empathy with Nora’s dilemma means initially it’s not easy to like him. However when he shares his side of the story and what Nora’s leaving did to him we see he too has suffered.
Anne-Marie’s anger seems fair and she clearly judges Nora for abandoning her children, but in caring for Emmy and her brothers, she too has neglected her own family.
Director Paul Gittins has assembled the right cast for this production. From the moment she steps through the doorway, Laura Hill is the perfect embodiment of Nora. Her’s is a complex depiction of a woman seemingly in control and a tad manipulative yet also vulnerable and emotional. Similarly Stephen Butterworth brings a depth to Torvald that ranges from detachment, through to anger, and finally an acknowledgment of his deep hurt and enduring love. Watching the two of them continually butt heads and yet also share tender moments is wonderful.
Maya Dalziel’s Anne-Marie has a surprising strength to her personality that belies the character’s obvious infirmity. The nanny is both caring and self righteous and seemingly ignorant of her own hypocrisy. Dalziel manages these contradictions perfectly and knows just how to deliver an expletive to good effect.
Danyelle Mealings as Emmy was mesmerising and I believe an actor to keep an eye on. It’s my understanding this is her first professional theatre gig and based on this flawless, confident and nuanced performance she has a bright future ahead of her.
In terms of staging I think everything was perfect in this production. The set by John Parker was minimalist – two chairs, a table, a water jug and glasses were the only props. An ornate entrance represented the doorway and a lovely parquet floor covered the stage. This simple yet stylish set was complemented by Elizabeth Whiting’s classy costuming and Jane Hakaraia’s excellent lighting design.
Having never seen Ibsen’s original play, I wondered if I would be at a disadvantage, but Hnath’s beautifully written script reveals all we need to know about the past and serves up an exquisite peek into the aftermath of Nora’s decision. It is set in the past but the language and tone of the play feel very contemporary which feels appropriate given the age we live in is witnessing a rise in misogyny.
In conclusion, A Doll’s House Part 2 is a magnificent, stylish and powerful piece of theatre, beautifully staged and incredibly thought provoking.
A Doll’s House, Part 2:
Herald Theatre, Aotea Centre
Thu 14 Nov – Sun 1 Dec 2024
On sale 9 am, Fri 27 September.
Book your tickets at Ticketmaster.
