28 September 2024 I 19:15 I Crucible Theatre, Sheffield
⭐⭐⭐⭐⭐
I have briefly encountered A Doll's House with university in the past, where staged at Sheffield's Crucible Theatre, Henrik Ibsen's play regarding female domestic entrapment appears fearfully timeless. Originally performed in 1879, a feminist approach to dramatic literature was a triumph of it's century. Chris Bush's adapted text curates dialogue for contemporary audiences, considering how we observe marital standards today and the claustrophobia of private lives. Under Elin Schofield's direction, an unsettling, poignant narrative does not strive to explode upon the stage, rather imposing a nightmarish impression to amplify a woman's isolation.
It is Christmas Eve. Nora and Torvald Helmer are the abruptly wealthy couple and envy of others. But in marriage, the price of love demands more than a wedding ring. As visitors frequent their home, secrecy defines an unstable relationship grounded by the expectations of a wife and mother. The past intends to haunt, yet the future is honoured through human value. The script concludes with a pivotal, socially significant final scene that resonates with feminist empowerment today.
Walking into the auditorium, I feel breathless as the Crucible Theatre has, once again, been completely transformed beyond recognition. It goes beyond 'set' to craft another dimension. A surrealist, gothic atmosphere that feels entirely unnatural and disturbed. An intimidating presence, foregrounding a location drained of life.
Chiara Stephenson's set initially dominates the stage space, where being seated on the front row (see image above), allows the house becomes grandly immersive. In thrust staging, the confined theme is magnified as bodies are exposed to the audience. The walls resemble a gauze material, translucent to allow distorted action to occur within them. Reflective of a literal doll's house, actors are reduced to toys within Stephenson's design. I feel positively mesmerised at a new discovery of theatre's potential, but ultimately speechless and at the mercy of this production.
Lauded with vulnerable and captivating roles, Siena Kelly's Nora heads A Doll's House with one of the most resolute, accomplished performances I have seen in my life. Onstage for the entirety of Act One (approximately 90 minutes), her characterisation never once falters. The quality in which she paces the text is highly admirable, but also her physical use of the stage, a deep understanding of relationships against others. Everything about Kelly's process as an actress is mesmerising, and every ounce of empathy is translated in final scenes, ultimately defining the perfect Nora Helmer. A privilege to have witnessed.
Ibsen's text is highly engrossing, often sending shivers as revelations are discovered and Nora's lifestyle is compromised. Even before the show begins, Tingying Dong's sound design is intelligent in placing audiences on the edge of their seats, a very quiet underscore that is just noticeable enough to creep alongside tensions. As with Richard Howell's lighting, considering dramatic angular effects that allow gigantic shadows to torment the action.
Tom Glenister's Torvald is masterful to contradict Kelly's performance, unlocking a demeanour to make your skin crawl. Immediately from the offset, Glenister holds the capability to portray coercion, beginning with a glimpse, disturbing unleashed in Act Two as he flips between charm and monstrosity in an instant. Additionally with Eben Figueiredo's role of Krogstad holding a tremendous vocal command, able to shift the tone of the piece upon entrance alone. This cast of six performers deserve immense praise in the way they respond to one another, thus widening the potential for anxieties to rise.
Undoubtably within my top performances of 2024, it is outstanding that A Doll's House plays at Sheffield's Crucible Theatre for such a limited period of time. Perhaps this enhances the transient urgency in which these discussions happen. Schofield delivers a fierce domestic drama wielding the ability to engross, yet also to make a statement on the politics of marriage. Remarkable theatre that encapsulates the excitement and anticipation of raw, live performance.
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