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When the aperture opens at the alpha of American Players Theatre’s assembly of “A Doll’s House, allotment 2,” it’s been 140 years, 15 years or 17 canicule aback Nora left, depending on how you measure.
When Norwegian realist author Henrik Ibsen debuted “A Doll’s House” in 1879, the catastrophe was explosive. A affluent adolescent woman, trapped by civic restrictions that didn’t acquiesce her to vote, authority acclaim or assurance a arrangement afterwards her husband’s approval, leaves her family. Her youngest babe is still in diapers, but Nora is a drifter in her own home. She cannot stay.
More than a aeon later, addition playwright, Lucas Hnath (“Hillary and Clinton,” “The Christians”), wondered what happened to Nora afterwards she went through that door. Hnath begin an English adaptation of the comedy on a chargeless website and approved autograph it over in his own words.
Hnath told a bi-weekly in Aspen that he was “struck by the agitation that begins at the end of the comedy and how that agitation has aloof started. … Torvald’s acknowledgment is a bit dumb. If he had added time to anticipate it through and adeptness a bigger argument, what would Nora say? And again what would happen? And that seemed to be a acumen to address the play.”
Hnath set “A Doll’s House, allotment 2” 15 years afterwards Nora left. It opens at APT in previews on Wednesday, Oct. 24, in the Touchstone Theatre.
Scenic artist Andrew Boyce fabricated the set for “A Doll’s House” at American Players Theatre, apparent actuality with Kelsey Brennan and Nate Burger as Nora and Torvald. Boyce additionally advised the sets for “A Doll’s House, Allotment 2.”
“We’re application the aforementioned house. I acclimated the aforementioned set designers,” said Brenda DeVita, APT’s aesthetic director, who additionally directs “part 2.” Hnath uses poetic, abreast language, and APT’s architecture additionally aims to accompany elements of accomplished and present together.
“We’re advancing aback to a abode that’s altered but actual abundant the same,” DeVita said. Artist Raquel Adorno included “a abreast moment in anniversary of the costumes, so we can account the actuality that it is 1894, but the accent of the comedy is actual contemporary,” DeVita said.
Nora has alternate because she needs Torvald to accord her a divorce. She can’t get one on her own unless she proves he abused her, and she has no admiration to lie.
“A affiliated woman couldn’t get a job, couldn’t assurance a arrangement afterwards the accord of her husband, and at the time that was normal,” said Colleen Madden, the APT amount acting aggregation affiliate who plays Nora. “That’s what we balloon today. We attending at her abolitionist acts and say that’s too much, you’ve aching too abounding people. But women didn’t accept rights we accede basal animal rights.”
Madden saw the antecedent production, but she’s not artful Brennan’s Nora in accent or gesture. She wants to attending deeper.
Colleen Madden, left, and Jim DeVita rehearse for “A Doll’s House, Allotment 2” in American Players Theatre’s Touchstone Theatre.
“Kelsey and I alone are absolutely akin in a lot of ways,” Madden said. But she begin a added acute through-line in the attempt to accommodate changeable individuality and freedom with a association that didn’t acquiesce any allowance for either. Both Noras accord with that.
“This woman is active her activity and she makes everybody absolutely uncomfortable, alike herself,” Madden said. “She doesn’t apperceive how to ascendancy her own articulation or fit into society. All of us, but abnormally women, accept that acquaintance of not alive our own opinion, not audition our own voice.
“I can accept why she would accept to absolutely bend herself from society, to be quiet and try to feel her own articulation in her bones.”
DeVita sees altered access amid Nora now and Nora then.
“The corybantic energy, that adeptness to break absolute and joyful, are two things I’ve apparent in our Noras,” DeVita said. “It’s not hasty that that Nora would aftermath this Nora.”
Kelsey Brennan plays Nora in “A Doll’s House” at American Players Theatre. In “A Doll’s House, Allotment 2,” Colleen Madden plays the aforementioned appearance 15 years later.
In “part 2,” babyish Emmy is now a adolescent woman played by Melisa Pereyra. Of all the play’s characters — Torvald, now played by Jim DeVita, and the nursemaid Anne Marie, played by Sarah Day — Emmy is the alone appearance who feels new.
“They all accept a absolute actual aback (story) to go to and Emmy doesn’t really,” Pereyra said. “The admirers can be afraid by so abundant of her perspective.
“I anticipate what Ibsen was talking about in his comedy too is it’s not necessarily a feminist manifesto, but rather that everybody gets their point of view,” Pereyra added. “In a apple area we are not accommodating to accept to anniversary other’s point of appearance if they don’t accede with us, this is a apple in which everybody gets one, and I absolutely adulation that.”
At the end of “A Doll’s House,” Nora declares that she is not, as Torvald insists, “a wife and mother afore annihilation else.”
Colleen Madden, left, and Sarah Day rehearse for “A Doll’s House, Allotment 2” at American Players Theatre.
“I anticipate I’m a animal actuality afore annihilation else,” she says in a adaptation by Simon Stephens. “I don’t affliction what added bodies say. I don’t affliction what bodies address in books. I charge to anticipate for myself.”
What DeVita apparent in administering this absurd aftereffect is that this feminist liberation for Nora cannot break her problems.
“Self-determination is not a panacea,” DeVita said. “All the actuality in her activity will not be bigger and absolute because she’s absitively who she wants to be. She has to be OK with all the animal $.25 of herself.
“The affair that Nora hasn’t done is absolutely accost the bodies that she hurt,” DeVita said. “She’s adequate them, but she has actual abundant adequate herself. This aegis of ourselves, alone actuality with bodies who accede with us, is costing a lot in the beyond account of things.”
In Hnath’s play, Nora has become a crusader, alive her focus from extenuative herself to alteration the world. She believes that in 20 or 30 years, the academy of alliance will be fundamentally different, added equal.
The actors see parallels to this in their absolute lives. Madden affiliated Nora’s assignment about rights and amends to the assignment that Pereyra herself has done offstage, autograph about agony and actuality a woman of blush in classical theater.
“These account accomplish bodies uncomfortable,” Madden said. “We’re afflictive with, ‘You’re cogent me I’m accomplishing article abominably and wrong.’ But if you acquiesce yourself to alive in the uncomfortability for awhile, to absolutely anticipate about it and counterbalance it, it can alpha to feel like … article that becomes a allotment of you.”
Nora has had two lives — one as a wife and mother, and addition as a distinct woman in the world. She has found, as Pereyra said, selflessness in radicalism through “the abundant advantage of accepting two altered paths.”
“A lot of women accept alone had the aboriginal experience,” Pereyra said. “She gets to accept the agitation of these two perspectives aural one body. The added we can do that, as animal beings, the added we change the world.”
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