A DOLL’S HOUSE, PART 2. Lucas Hnath. With Bianca Amato, Zane Meas, Charlotte Butler and Simone Neethling. Directed by Barbara Rubin. Pictures: Fiona MacPherson. Baxter Studio.
KAREN RUTTER reviews
Nora’s back. But what has been going in the 15 years since she slammed the door on her family so momentously in A Doll’s House? Henrik Ibsen’s play, regarded as highly controversial when it was premiered nearly 150 years ago, featured proto-feminist Nora Helmer. After endlessly caring for her husband Torvald and three children, she realises, due to a series of revealing events, that she has never actually been taken seriously, is seen as a “doll-wife” in a play-room. And so she leaves – a scandalous act for a woman in 1879, to abandon her husband and children. Ibsen has said that he never purposely intended the play to be a feminist statement. But it is.
Playwright Lucas Hnath was fascinated by what could have happened to Nora after she left her home. Enough so, to write a sequel. A Doll’s House, Part 2 sees Nora having made a success of herself as an author. What’s more, she is a fierce opponent of conventional marriage, her views having become more radicalised since leaving her husband to make an independent life for herself.
Ironically, she find herself back at the family home and needing the cooperation of Torvald. Just as in A Doll’s House, dicey documents and the whiff of blackmail could spell social ruination, or even worse. Nora requires action from Torvald. But what will he do, having not seen her for 15 years? And do the children have a role to play?
The reunion
Nora (Bianca Amato) is greeted by housekeeper/nanny Anne Marie (Charlotte Butler), who is apprised of the situation. During the course of their reunion (Anne Marie raised Nora, and also Nora’s children), we become aware of Nora’s success, her passions and her political viewpoints. Anne Marie is also able to give some background on how the household has fared.
And then Torvald (Zane Meas) arrives, unexpectedly, setting up a scorching “reunion” in which both sides attempt to explain where they are coming from. Is it possible that Nora and Torvald may actually get back together again – or is this pushing things? The appearance of their daughter Emmy (Simone Neethling) adds a further twist to the tale.
Hnath’s play poses a very plausible scenario, an authentic follow-up to a production which has captured imaginations and inspired debate ever since it was first staged. Director Barbara Rubin keeps the action punchy, allowing Amato to dominate with a feisty, fiery energy that is electrifying. She runs this show, and does it with spirit.
In a smaller role, but essential in allowing Nora to let us know what she has been doing, Butler is very much on point as Anne Marie, her gestures and comments providing the perfect foil. Neethling as Emmy cuts a confident figure (although her M3gan-like poise is a little alarming). While Meas is likeable as Torvald, and his explosive “duet” with Nora near the end is magnificent, I am not sure he matches the spark of Amato’s presence. He does handle things well, though.
A Doll’s House, Part 2 is engaging, and it’s a clever premise. It could be cut by 20 minutes, though. Oh, and you don’t actually need to know the original Doll’s House story, it becomes obvious in this script.
What: A Doll’s House, Part 2
Where and when: Baxter Studio from 16 April to 10 May 2025
Tickets: Webtickets
WS
