Dir. Patrick Garland, Ingmar Bergman, Royal Dir. David Thacker, The
Elkins Productions (1973) Dramatic Theatre (1989) Young Vic (1992)
Anthony Hopkins as The main action took Ending: spiral staircase,
Torvald, hits Nora’s face place on a raised Nora descends to the final
when the IOU is revealed, platform… suggestive of door with a slam
and the bruise remains a…prison cell. Chairs
visible on Nora’s face for were placed in rows
the rest of the production where characters would
sit down like silent
observers instead of
exiting the stage. On
Hilde's chair sat a doll
when she was not present
on stage. Nora was the
only one who never left
the acting area. In keeping
with Bergman's increasing
tendency to include
meta-theatrical features
in his stage productions,
his A Doll's House
included allusions to
theatre history and the
Royal Dramatic Theatre
tradition. Each fragment
of the play has
emblematic furniture
Dir. Anthony Page, Dir. Polly Teale, Shared Mabou Mines, Lee Breuer
Belasco (1997) Experience (2000) (2003)
McTeer offers a mercurial Expressionistic - Nora’s Castes of 6ft women
spin on Nora (girlish father as a ghost opening against much shorter
giggles one second, an the play: Nora emerges male actors. Begins with a
expression of dire panic from a real doll's house, silent-movie-style
the next). McTeer, early in full of cracked walls. The accompaniment and
the play, hides a sack of Helmer's home is a bare, culminates in puppet
sweets from her grey space, a half-derelict versions of Nora and
disapproving husband, or house with cracking walls Torvald. At its heart is the
uses baby talk to get her and cavities. The windows image of the doll's house
way look out to blackness and and nursery, where the
Elkins Productions (1973) Dramatic Theatre (1989) Young Vic (1992)
Anthony Hopkins as The main action took Ending: spiral staircase,
Torvald, hits Nora’s face place on a raised Nora descends to the final
when the IOU is revealed, platform… suggestive of door with a slam
and the bruise remains a…prison cell. Chairs
visible on Nora’s face for were placed in rows
the rest of the production where characters would
sit down like silent
observers instead of
exiting the stage. On
Hilde's chair sat a doll
when she was not present
on stage. Nora was the
only one who never left
the acting area. In keeping
with Bergman's increasing
tendency to include
meta-theatrical features
in his stage productions,
his A Doll's House
included allusions to
theatre history and the
Royal Dramatic Theatre
tradition. Each fragment
of the play has
emblematic furniture
Dir. Anthony Page, Dir. Polly Teale, Shared Mabou Mines, Lee Breuer
Belasco (1997) Experience (2000) (2003)
McTeer offers a mercurial Expressionistic - Nora’s Castes of 6ft women
spin on Nora (girlish father as a ghost opening against much shorter
giggles one second, an the play: Nora emerges male actors. Begins with a
expression of dire panic from a real doll's house, silent-movie-style
the next). McTeer, early in full of cracked walls. The accompaniment and
the play, hides a sack of Helmer's home is a bare, culminates in puppet
sweets from her grey space, a half-derelict versions of Nora and
disapproving husband, or house with cracking walls Torvald. At its heart is the
uses baby talk to get her and cavities. The windows image of the doll's house
way look out to blackness and and nursery, where the
