THEATER - "Nora"

The problem with Nora is that it makes the superior, natural A Doll’s House into a technical, surreal production. It’s Ingmar Bergman literally doing Henrik Ibsen, and is about what you’d expect. And even after all the clever cuts and additions, the lengthy, proselytizing ending (long enough to be an honorary opera death scene) is still there, almost word for word. Plays today are too often about telling people off and explaining everything; A Doll’s House balanced that with the rich character growth that Nora so easily shrugs off.

[Read on] at New Theater Corps