News Ticker

Henrik Ibsen

A Doll’s House

March 19, 2023

Like Ivo van Hove’s pared-down revival of Arthur Miller’s "A View from the Bridge," Jamie Lloyd’s new Broadway production of Henrik Ibsen’s 1879 "A Doll’s House" uses no sets or props and all black costumes for the entire cast. Going even further than van Hove, he has the heroine Nora Helmer played by film star Jessica Chastain seated almost for the entire length of this intermission-less three-act play. Using a new version by Amy Herzog recast in spare modern vernacular, this Doll’s House proves to be riveting and intense, even if you know the play very well,  focusing our attention on the dialogue, the acting and emotion, rather than the décor and the historical trappings of 19th century Norway as we usually do. [more]

Public Enemy

October 16, 2016

Ibsen’s "An Enemy of the People" is a classic of modern drama but at times it can seem musty in a poor translation. David Harrower’s "Public Enemy" is not only a shrewd, accessible adaptation, it also makes clear the contemporary relevance of the dangers of the herd instinct in a seemingly just society. The Pearl Theatre Company production is a must-see for all good citizens, particularly in these perilous times. [more]

Peer Gynt

May 31, 2016

As with many CSC productions, the modern dress costumes (here designed by Ann Hould-Ward) are entirely in black and white. A small handful of props are used (a tin of buttons, an onion) but the production is basically reduced to its dialogue and story. Since there are no breaks of any kind, the scenes segue one into another without transitions. As a result the audience has to stay focused on the play or it finds itself somewhere new and doesn’t know how it arrived there. The lighting design by Jane Cox alternates between light and dark without creating much atmosphere on the empty stage. [more]

Posterity

March 30, 2015

In Doug Wright’s "Posterity" at the Atlantic Theater Company two monumental cultural figures of 19th century Norway lock horns in a battle of wits and sensibilities with tragic results. Wright, who seems to have a penchant for writing about real people (viz. "Quills," "I Am My Own Wife," and "Grey Gardens"), here, takes on Henrik Ibsen, monumental 19th century playwright, and sculptor Gustav Vigeland, forty years his junior. [more]