May 6, 2008
Director Erica Whyman has created a splendid production of this critique of the traditional roles of men and women in marriage. Set strikingly in the 1950s, Soutra Gilmour’s intelligent design presents a stylish perspex set, dressed with delightful period touches – black and white patterned wallpaper and suite, a two bar electric fire.
Allied to intelligent direction, strong performances from all actors created the apparently idyllic home of the Helmers; a home that rapidly spirals down into fear, despair and an epiphany. John Kirk (Torvald) made a splendidly patrician husband: treating his wife as part possession, part indulged child. His transitions between stern man of business and the caricature of a loving husband worked especially well – playing Torvald as a man certain of the social mores of the time and astounded and confused by any threatened challenge to his expectations.
Tilly Gaunt (Nora) was simply fantastic as his initially flighty and superficial wife. As all well-written characters do, she developed depths when faced with challenges and moments of crisis. The audience watched as she visibly grew from capricious child to developing, thoughtful woman. Ms Gaunt was by turns energetic, panicked, brave, frightened and resolute; but always brilliant from shopping trip to final door slam.
Kristine (played delightfully by Karen Traynor) was a well-spring of common sense and unshakeable morality – offering redemption to the apparent villain Krogstad (Chris Myles – excellent, especially in his recognition of Kristine’s unselfish offer). She provided a gentle but firm reminder to all present of the nobility inherent in personal sacrifice and the compromises necessary in real life. James Woolley (Doctor Rand) provided a chance of help that was rejected by Nora in recognition of his impending death. It was the by-play between these two that demonstrated the awakening of an adult consciousness in Nora as she recognised the peace that came with her friends' acceptance of his fate.
The cast was completed (cute children aside!) by Rosalind Bailey whose nanny (Anne Marie) gave a link to Nora’s past and a potential vision of her future.
As with Erica Whyman’s previous visit to the Playhouse (Our Friends In The North) the audience were captivated for three hours of superbly realised theatre that presented moral dilemmas through accessible and realistically believable characters. Congratulations on a splendid production.
Allied to intelligent direction, strong performances from all actors created the apparently idyllic home of the Helmers; a home that rapidly spirals down into fear, despair and an epiphany. John Kirk (Torvald) made a splendidly patrician husband: treating his wife as part possession, part indulged child. His transitions between stern man of business and the caricature of a loving husband worked especially well – playing Torvald as a man certain of the social mores of the time and astounded and confused by any threatened challenge to his expectations.
Tilly Gaunt (Nora) was simply fantastic as his initially flighty and superficial wife. As all well-written characters do, she developed depths when faced with challenges and moments of crisis. The audience watched as she visibly grew from capricious child to developing, thoughtful woman. Ms Gaunt was by turns energetic, panicked, brave, frightened and resolute; but always brilliant from shopping trip to final door slam.
Kristine (played delightfully by Karen Traynor) was a well-spring of common sense and unshakeable morality – offering redemption to the apparent villain Krogstad (Chris Myles – excellent, especially in his recognition of Kristine’s unselfish offer). She provided a gentle but firm reminder to all present of the nobility inherent in personal sacrifice and the compromises necessary in real life. James Woolley (Doctor Rand) provided a chance of help that was rejected by Nora in recognition of his impending death. It was the by-play between these two that demonstrated the awakening of an adult consciousness in Nora as she recognised the peace that came with her friends' acceptance of his fate.
The cast was completed (cute children aside!) by Rosalind Bailey whose nanny (Anne Marie) gave a link to Nora’s past and a potential vision of her future.
As with Erica Whyman’s previous visit to the Playhouse (Our Friends In The North) the audience were captivated for three hours of superbly realised theatre that presented moral dilemmas through accessible and realistically believable characters. Congratulations on a splendid production.