8/2/2019 abou Mines "A Doll's House" Review

1/3

Chatzigiannidis Salavatis Tzimas Page 1

Chatzigiannidis Nikos, Salavatis Kostas, Tzimas Dimitris

Dr. Katerina Kitsi-Mitakou

Workshop in Critical Writing: Drama (Lit 5-126C)

19 January 2012

Mabou Mines A Dolls House : A performance not to be missed

A Dolls House is a 3 act play written in prose by the Norwegian play writer

Henrik Ibsen. Lots of adaptations of this play were attempted, one of which is Lee

Breuers version. This adaptation of Ibsens original play premiered at St. Anns

Warehouse in 2003, and in the years since has travelled the world to enormous

acclaim. This essay focuses on the most striking elements of Mabou Miness

performance, including the unprecedented setting, which resembles a dollhouse, the

unique casting and the directors choices about it. Last but not least, the acting and

also the differences with the original play will also be examined.

First of all, as far as setting is concerned, the entire set is a dollhouse,

composed of miniaturized furniture. Here, Ibsens feminism is metaphorically

rendered as a parable of scale. The dollhouse is a mans world and only doll-like

women, who allow their men to feel grand, can hope to live in it. Even the Norwegian

accents are miniaturized. This tortured explanation of course, employs exactly the

opposite metaphor that Ibsen uses in the plays close: it is the women who have been

reduced to living dolls, manipulated by men like Torvald (who has a penchant for

comparing her to small woodland animals) and her father. It also symbolizes a

patriarchic kind of world in which a woman never fits. In addition, the costumes

blend well with the overall setting, enhancing the dollhouse atmosphere which is

created by the setting. One such example is that Nora and Emmy wear the same dress

as the doll in the background.

8/2/2019 abou Mines "A Doll's House" Review

2/3

Chatzigiannidis Salavatis Tzimas Page 2

Another thing which has to be taken into account is the casting and the

directors choices about the actors. Indeed, the hallmark of this production is

unquestionably the radical casting. With Maude Mitchell (Nora), Mark Povinelli

(Torvald), Kristopher Medina (Krogstad), Janet Girardeau (Kristine), Ricardo Luis

Gil (Dr. Rank) and Margaret Lancaster (Helene), Lee Breuer manages to unfold a

vivid performance in front of the audience and bring the original plays atmosphere to

the surface. The daring visual innovation big women, little men makes it

impossible to miss Breuers main point, which he says was also Ibsens in 1879: Men

inevitably have the upper hand. The play that ushered in theatrical modernity as its

heroine slammed the door on her husband and children and boldly set off to discover

her own identity made the director Lee Breuer, a long-standing darling of the New

York avant-garde.

Another essential point, which must be also taken into consideration, is acting.

An emphasis should be given in the fact that the acting of this offbeat production can

be characterized as excellent, if not perfect. Maude Mitchell as Nora is incredibly

detailed in her movements, yet still manages to give a spontaneous vibe in her

performance. Mark Povinelli as Torvald has a stage presence multiple times larger

than his physical presence. Helene is humorously sarcastic as the family's maid.

Rounding out the women of the play is Honora Fergusson, playing the troubled

Kristine with appropriate desperation. Kristopher Medina as Nils Krogstad, the

sneaky banker, appropriately slides back and forth from insidious to sorrowful. Last

of all, Ricardo Gil as Dr. Rank who silently yet dramatically suffers about his fate.

8/2/2019 abou Mines "A Doll's House" Review

3/3

Chatzigiannidis Salavatis Tzimas Page 3

Whats more, the only thing remaining to be referred is how much Breuers

play differs from the actual playwright of Ibsen. Such a plot, if not played well, runs

the danger of slipping into melodrama. However, Mabou Mines takes it into that

territory with enthusiasm, and deliberate comic effect. If Ibsens script calls for Nora

to give Dr. Rank a macaroon she has hidden because Torvald forbids such sweets,

Mabou Mines has her take it out of a cavity in the behind of the rocking horse. If

Ibsens script calls for Nora to send her young daughter out of the room because the

scary lawyer Krogstad wants to talk, Mabou Mines has Krogstad snap and roar at the

young girl as if he was a wild dog. If Ibsen has Nora darkly contemplate suicide,

Mabou Mines has her pass out all over the place, with her wrists against her forehead.

To sum up, Breuers play of the Dolls House is a play worth seeing. It

contains all the crucial things a play should be based on, including the setting, casting,

and acting. Taking all these elements and using them in a unique and versatile way,

the director manages to share with the audience this wonderful mixture of comedy and

drama. Moreover, the final result is not an exact adaptation of the original play, but it

has Breuers touch in it which makes it even more spectacular. It definitely worth

your time and money.