Observer: So yeah: about that exit. If you know anything about A Doll’s House, you know it ends with housewife Nora Helmer leaving her husband Torvald with a defiant door slam. (Those crying spoiler, take it up with your high school.) In the current Broadway version, there’s no front door. Or any door. Instead, Jessica Chastain vamooses through a large portal that opens in the back wall of the Hudson Theatre. Nora steps into waning sunlight (for those at matinees), glances around 45th Street, and heads off—presumably to the M&M’s store. The visible “Museum of Broadway” signage lays it on a bit thick, but you work with what you got.
1 comment:
I don't know if I like this show. When reading the script, I was invested, sure, but I was never rooting for any particular characters. When reading this show initially, A variety of potential sets came to mind. A house is a reflection of those who inhabit it, or so I’ve always believed. I could never fully get the full grasp of Nora, which is the entire point. Neither can she herself. From everything I’ve seen about this production, it seems to live in the negative space. Everything is stripped down. But I wonder what that is lie to witness as an audience member. To view a ‘clinical’ version of this story. I do think the concept of a rotating stage during still blocking is quite interesting, and upon initially hearing about it, reminds me a bit of a scene in Hadestown. Though that is a much more… dynamic? Show.
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