Moayed intensely spotlights the casual cruelty in Torvald. Lloyd delivers an ensemble worthy of taking on Ibsen’s masterwork. Like much of white feminism, her own desires are swept in the storm of Nora’s needs.Īmid the hangups, all members of the cast excel. But Kristine remains largely relegated as a tool for Nora’s self-actualization. Darbouze delivers a tender performance, particularly in moments of kinship with Krogstad. Kristine’s independent arc is still sidelined in Herzog’s adaption. But the reality of racism is treated as a point of view that Krogstad and Christine share, versus an operating framework the characters live in. The play nudges at that acknowledgement, specifically underlined in Krogstad’s mistreatment by his white associates and Nora warning Christine that Krogstad will “hurt” her (a white Nora assuming that Krogstad, a Black man, is capable of violence). Race is a current in Lloyd’s revival, with Krogstad and Kristine played by people of color. Nora’s decision to leave – and eventual departure – thuds along, despite Herzog’s adaption remained tenuous throughout. Lloyd’s version feel slackened in its finale, as Nora realize just how her husband (and recently departed father) view her. Some aspects of the modernization misfire. A fuller, infinite portrait is painted of the long-time heroine through Chastain’s work. Chastain fully understands the various pieces that make up Nora: her humor, wit and (at times) incomprehension. “I am a human being, just like you are,” proclaims Nora.Ĭhastain is captivating as Nora, providing a robust understanding of Nora’s inner life beyond the cruelty she suffers. Nora thrashes to hold her husband’s attention during a feverish dance scene, choreography that becomes increasingly sinister given Chastain’s enthralling performance. Nora maintains individual and tender relations, particularly with the dying Dr Rank (Michael Patrick Thornton) or the family’s nanny Anne-Marie (Tasha Lawrence). With a lobbed compliment to her husband, Nora woos him into giving Kristine (Jesmille Darbouze) a job. But Nora remains at the center and in control, able to carve out agency in a world that relishes in its thievery. Akin to a figurine in a music box, Nora lives trapped under the watchful eye of others. In the play’s preamble, Chastain sits stone-faced as she is rotated by the moving set.
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