Journalism / Columbus Civic’s Doll’s House Stirs and Shakes

Doll’s House Worth the Three Hour Investment

by Tahrea Maynard

This weekend, Columbus Civic Theatre opens Henrick Ibsen’s A Doll’s House. The Norwegian playwright’s most famous work, often required reading in academic settings, enjoys a reputation with the scholarly crowd as the world’s first truly feminist play. To the original 19th century audience, the work was shocking and appalling. So, how does it play to a modern audience?

This plot of this classic drama focuses on Nora Helmer, played by Britt Kline. Kline’s performance allows the audience to clearly see Nora as a woman who struggles with maintaining the picture perfect attitude and household as her husband Torvald (Ben Gorman) would have it be, while trying not to lose her own vitality. Gorman does well as Torvald, portraying a domineering husband who encourages, almost forces Nora to be a silly and childlike person. Although some of director Richard Albert’s blocking (especially the constant sit-stand-sit-stand pattern in emotional scenes) becomes too repetitive, Albert leads Kline and Gorman to successfully present the tension in the strained marriage. Their dogged yet hopeless attempt to find happiness is stirring.

Joining Kline and Gorman on the Madlab stage is a wonderfully compiled supporting cast, including two adorable youngsters, Emma Anderson and Daniel Ninde, as the Helmer children. Expect to see these two again in future productions around Central Ohio. Joel Cohen plays Dr. Rank, friend and confidant to the Helmers. Cohen does this role right, presenting Rank as a gentleman whose delightful, jovial manner falls short in concealing his personal struggle with his own mortality. Another performance of note belongs to Melinda Anderson. Along with costuming this production, Anderson is Christine Linde, a recently widowed school friend of Nora’s who is in need of work. Anderson does a wonderful job at adding the right touches of tragic and borderline pathetic to the poor Mrs. Linde.

Anderson and the entire production crew should also be proud of the flawless Victorian ambience created for the production. Along with Director Rich Albert’s set and Andy Batt’s Lighting design, Anderson’s costumes allow the 21st century audience to feel as though we have stepped into the Helmer’s 19th century household. Anderson got her inspiration from the juxtaposition of the Victorian fashions as influenced by Asian culture, specifically the GothLoli Fashions of Japan. The richness of the costumes allows her vision to be achieved. Rich Albert’s set puts the audience in the parlor of the Helmer household at Christmas time, complete with garland on the piano and even a Christmas tree.

This production lasts three hours, with two ten minute intermissions. Albert does battle a couple moments where downstage action and prop placement cause sightline problems that hide the actors from certain sections of the audience, so choose your seat carefully.

*****

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