Front Row Reviewers

Jun 17, 2022 | Reviews

Everything and Nothing Is Black and White at Creekside Theatre Fest’s A Doll’s House in Pleasant Grove, Utah

Front Row Reviewers

Front Row Reviewers

A Doll’s House, Henrik Ibsen’s famous play, has been translated and adapted to hundreds of global stages, becoming the world’s most-performed play in 2006; and now the Creekside Theatre Fest brings A Doll’s House to the Liahona Preparatory Academy in Pleasant Grove, Utah. This three-act play has received critical attention and acclaim for nearly 150 years, and the current production has much to add to the conversation. The woman-vs-world plot follows protagonist Nora Helmer as she reacts against the confinement of contemporary society and struggles with the moral contradictions and ambiguity in her relationships. Early in the play, Nora reunites with her struggling childhood friend, Christine Lind, and confides a secret. Nora is determined to keep the secret from her husband to preserve his honor, but when Nils Krogstad begins to blackmail Nora in order to keep his job, things begin to unravel. Soon Christine and the family friend Dr. Rank are sucked into the intrigue as Nora takes increasingly frantic action to keep her secret from her doting but obtuse husband. The play ends with a powerfully resonant statement of knowing and acting for oneself.

The audience forms the walls of the doll house within the intimate black box theater, and the set (designed by Brian Hadfield) consists of simple white furniture. This monochrome approach to the stage combines with the actor’s grayscale costumes (designed by Katrina DeKarver) to create a fascinating commentary on the characters’ actions and morality. The chic but simple clothing reflects director Chris Hults’s brilliant decision to take the play out of a time period and allow the viewers to feel its impact in the present moment, and the performance draws strength from this deliberate anonymity. The music-box melodies that bookend the acts are at once charming and haunting. And Gabi Pack’s lighting design—with drastic red flares and subtle fades—highlights the action and Nora’s inner turmoil, keeping the audience at the edge of its seats. Jenny Cannon’s careful management and London Allen’s skilled tech execution keep the performance running smoothly.

The pure characters of nanny Anne Marie (Sarah Wilkins), Emmy Helmer (Sophronia Long), and Ivar Helmer (Brev Hadfield) are dressed in all white for the entirety of the play. Wilkins owns the main comedic moment of the show as she struggles to place a Christmas tree and holds her own in a tender, vulnerable moment of shared motherhood with Nora. Youngsters Long and Brev Hadfield steal the show in their scene, telling Nora of their snowy escapades. Long’s innocent charm plays beautifully against Brev Hadfield’s quiet strength, which is especially evident as he bravely shields his mother from Krogstad.

The central characters are complex and compelling as we see them in both their blackest moments and brightest whites, and each actor’s performance is exquisite. Chris Hults’s Dr. Rank is a combination of finely executed contradictions: both funny and fatalistic, both fatherly and passionate, and always true to character. Amber Ethington’s (Christine Lind) is jaded and firm—a clear businesswoman—but she’s also a desperately good friend. Alex Glover’s Nils Krogstad is nothing short of marvelous, first terrifyingly intense, then pitiably desperate, then kindly resigned, and finally intensely hopeful. Glover and Ethington’s reconciliation was my favorite scene of the show, not because it’s the one truly happy moment but because the two played into it brilliantly and truly honored their character arcs.

The Helmers are the central figures and the focal relationship of the show, but their characters could not be more different. Actors Jeanelle Huff (Nora Helmer) and Trystyn Roberts (Torvald Helmer) are brilliant in these roles. Roberts is at once sickeningly sweet and repulsive in his codling of Nora, and because of him I’ll never hear the word “skylark” again without shuddering. His unintentional, demeaning cruelty is, sadly, believable. Huff’s Nora is effervescent in her high moments and devastating in her lows. She expertly navigates between her character’s childish ignorance and schemes and her profound realizations and final decision. The scene before the party when Nora breaks into frantic dancing in a desperate attempt to control the situation created palpable tension in the audience and was an emotional highlight of the show.

Creekside Theatre Fest’s A Doll’s House at Liahona Preparatory Academy is a whirlwind of emotion, intrigue, and revelation that kept me too invested to take notes and will stay in my mind for a long time to come. A Doll’s House is devoid of violence, foul language, and innuendo, but it’s no child’s play. The play’s intensity and moral dilemmas are more suitable for adults and teens and provide excellent opportunities for conversation and contemplation. So be a doll, and come out to Pleasant Grove, Utah, to see a truly memorable play.

Creekside Theatre Fest Presents A Doll’s House, Written by Henrik Ibsen
Liahona Preparatory Academy, 2464 W 450 S, Pleasant Grove, UT 84062
June 13–24, 2022, 7:30 PM
Tickets: $12-18
Contact: creeksidetheatrefest@gmail.com, 801-899-5135
Creekside Theatre Fest Facebook Page
Creekside Theatre Fest Website

Front Row Reviewers

Front Row Reviewers

0 Comments

Submit a Comment

Your email address will not be published. Required fields are marked *

AlphaOmega Captcha Classica  –  Enter Security Code