By Jason Hagey and Alisha Hagey
The journey continues for us all in Salt Lake Acting Company’s performance of A Doll’s House, Part 2 in Salt Lake City, Utah. When the doors open, the audience has the marvelous opportunity to see the result of what was once called, “the door slam heard round the world.” Before reading this review, I would urge you to just go and buy your tickets now. It is just that good and is not to be missed.
Henrik Ibsen originally wrote A Doll’s House in 1879. The shocking decision of Nora Helmer to leave her family was outrageously modern (with only 7 divorces recorded in Norway at the time) and not the happy ending that audiences had come to expect. Her departure left many unanswered questions, questions that Lucas Hnath (Playwright) asked himself and ended up writing a sequel to try and answer. The result is marvelous with endless realms of emotions, “funny, sad, ridiculous, tragic, brave, sweet, loving, stupid, hurtful, selfish, touching, maddening — like life,” as Nancy Borgenicht (Director) says.
Hnath creates lines of tension so that in every moment of the 90-minute script, the audience is riveted. He develops characters that all want something, that all need something, or have sacrificed much in the aftermath of 15 years ago. Nora needs an official divorce. Anne Marie gave up her family to raise Nora’s children and so now wants the stability that she has come to rely upon (and the comfort of such stability). Emmy wants to get married in direct contrast to her own childhood. Torvald needs some kind of closure and peace of mind.
Nora is not kind or unkind, nor is she unjust, nor calculating or even manipulative. She has a well-developed mind and an inner strength. It is the combination of clarity and uncertainty that each character is endowed with that makes this such a tour de force. Stacey Jenson (Nora) commands all of these nuances in her marvelous performance. Jenson is both a generous actor and an ingeniously human character. She is able to imbue Nora with a subtle love while keeping her grounded. By no means is Nora the moral center (despite her efforts), but Jenson’s portrayal invokes sympathy in the audience. Somehow, even in wordlessness, in silent moments, Jenson captures our hearts.
Annette Wright (Anne Marie) has a miraculous way of grasping realistic dialogue. Her line delivery is diverse, filled with meaning and inflection. She listens well, actively responding to what others are saying. As usual, Wright is a delight and it is exciting to see her on stage. She gives us our first laugh and a much-needed intake of breath. Her character also breaks our hearts with her longing and loyalty. I have seen Wright in many productions as she is a mainstay in the Utah acting community. This is her best role to date.
Rachael Merlot (Emmy) is magic. It is unclear how she captures the dichotomy of the character without resorting to stereotypes. She is hard but not cold. She is strong but still vulnerable. She is resilient. She is proud. She is resourceful. Merlot plays all of these emotions without missing a beat and without affectation. She is believably the daughter of both Nora and Torvald.
Paul Mulder (Torvald) is incredible. Ibsen’s version paints Torvald as untouchable, as peerless, and as an unmeaning villain (of sorts). Here, though, from the moment he bustles on stage in a flurry of action and concern, we see a new side of Torvald. Mulder gives us the complexity of this larger than life character. He is light and then once he sees Nora, clouded over with doubt and oppression. It weighs on him until he comes in for his final scene. There is no pretense, no simple approach to the character or the line delivery. Mulder finds humanity in the man and we love and respect him for it.
Borgenicht creates a masterclass in simplicity. She allows breaths when breaths are needed, frantic motion when it propels the plot forward, and she takes the brave step in allowing for silence to fill the theatre. She allows the modernity of text with the nuance of the original to be inspiring. All of this links back to the support and celebration of women and of women’s suffrage here in Utah. Borgenicht, like Hnath, doesn’t tell us whether or not marriage is good or bad, instead, she allows us to breathe, to take in the silence, and listen to our own inner voice leading us forward to our futures.
The design team brings to life the world of A Doll’s House. Erik Reichert (Set Design) produces a rich, elegant world with strong lines and an eye for detail. Reichert’s set is perfection. It allows for levels, creates different spaces for different sensibilities and emotional closeness and space. La Beene (Costume Design) is a wizard. Her costumes create an immediate sense of character while being realistic to the time period. Whatever she touches is gold – she has an amazing eye for fabric and patterns.
Matt Taylor (Lighting Design) grabs the audience from the first cue – the softly illuminated hallway, the dimmed chandelier, and the outside morning light coming into the room from a window off stage. It is perfect and subtle. The rest of the show continues in these same subtle patterns. Katelyn Limber (Sound Design) produces a haunting piano score. Limber’s sound design is a character unto itself, creating a sense of emotion and storytelling, enhancing the overall plot of the play.
The original A Doll’s House by Ibsen was unsettling, and rightfully so. In Hnath’s exploration of humanity — of love, family, relationships, and marriage — A Doll’s House, Part 2 brings more questions and further uncertainty, but also a great fulfillment in the watching of it. Salt Lake Acting Company continues to produce works that probe what it means to be human, what it means to be male and female. Part 2 is beautiful in reminding us that we are diverse, we are all different, and we all have different needs. Salt Lake Acting Company continues to be the standard for creating excellent and important theatre in Utah. This is no exception.
Salt Lake Acting Company Presents A Doll’s House, Part 2 by Lucas Hnath
Salt Lake Acting Company – Upstairs Theatre, 168 West 500 North, Salt Lake City, Utah, 84103
February 5 – March 8, 2020, Wednesdays – Saturdays 7:30 PM, Sundays 1:00 PM, 6:00 PM. Additional performances: February 15 2:00 PM, February 18 7:30 PM, February 25 7:30 PM, and March 7 2:00 PM
Tickets: $15 – $46
Contact: 801-363-7522
SLAC Website
SLAC Facebook Page
*This show contains some strong language
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