A DOLL'S HOUSE. To 5 May.

London

A DOLL'S HOUSE
by Henrik Ibsen translated by Terje Tveit

Dale Teater Kompani at New End Theatre To 5 May 2002
Tue-Sat 7.30 Mats Sat & Sun 3.30pm
Runs 2hr 20min One interval

TICKETS 020 7794 0022
Review Timothy Ramsden 28 April

Non-realistic Ibsen wins out thanks to some clear ideas and a beautifully-acted Nora.Two features are brought into prominence in Terje Tveit's non-naturalistic production. Christmas is represented by the piles of presents stocked up onstage; ironically Helmer ends in defeat propped up against the largest. And there are frequent Christmas songs - possibly too frequent, though at times with sharp relevance; like Nora's Silent Night, sung when she's considering suicide.

More usually, the songs come from all the cast, playing round the room like the Helmers' children and intensifying the happy domesticity which Ibsen so thoroughly smashes.

There are losses in this swift production, which gives time, too, to these devices. And some of the acting is competent rather than exciting. There's reduced significance for Dr Rank, the fated family friend, and limited menace in Krogstad and his determined attempt to climb back from social disgrace. Though Juliet Fitzgerald is good as Kristina, Nora's long-time friend and Krogstad's old flame, the production's busy-ness obscures how she detects the need for her friend's marriage to be bust open by her lover's letter.

Yet, at the centre is a strong Ibsen portrayal. Sarah Head shows the technical assurance and emotional understanding of a fine Nora. She signals her new awareness of her husband and their marriage early, standing statue-like on a gift-wrapped box, arms out and face, expressing deep shock, turned from Helmer as he moves with childish lack of emotional control through extremes of fear and relief over Krogstad's letters.

Head clearly shows enlightenment awakening Nora's mind; the face is immobile apart from the eyes, which register the dawning realisation of her husband's weakness and its massive implication for her own future. At the other extreme, feet play an important part – more specifically, shoes. In an early scene of jokily superficial happiness, Nora and Helmer seem so close in the way their minds work they buy each other identical slippers as Christmas presents. More sombrely, at the end Nora lays out her son's tiny shoes and clothes before leaving her home. It's one of the telling details that make this pacy, minimal production well worth seeing.

Helmer: Tom Peters
Nora: Sarah Head
Kristina: Juliet Fitzgerald
Rank: Graham Elwell
Krogstad: Russell Bentley

Director/Designer: Terje Tveit
Lighting: Finnuala McNulty

2002-04-28 23:46:28