December 2003 - Nr. 13
KW and Beyond
by Irena Syrokomla
A Doll’s House
by Henrik IbsenKitchener-Waterloo Little Theatre’s old location in Waterloo burned down almost 2 years ago. Presently KWLT is staging its productions at the Registry Theatre in downtown Kitchener on Frederick Street. Registry Theatre is located next door to the Police Station and is acquiring a reputation of presenting some controversial, some new, and some ambitious plays frequently put together on very limited funding.
A Doll’s House written in 1879 by Ibsen, a Norwegian playwright, is a classic rarely staged and quite an opportunity to be seen. It is a jewel in many ways, an opportunity for actors to show evolution of relationships and personalities, for a director to choose between traditional classic format or updated modern scenario. The story is about a married couple, Nora and Torvald Helmer, very traditional in its relationship of a husband being in control of everything, confidently secure in his opinion of himself and the correctness of his value system, and a wife, a decorative toy and possession, not being treated as anything more than a little songbird of his. After all it is a concept from 1879. Torvald’s life principles are simple and irrevocable, any deviation from them calls for damnation. She is a doll living in a doll’s house.
And then the first crack appears: she has borrowed money forging her father’s signature to finance a trip to Italy to save her sick husband’s life. Now she is gradually repaying the loan out of her dress and housekeeping allowance. Forgery of a signature even in crisis (father was dying) and then keeping a secret from her husband is an unforgivable crime. She is damned, unfit to even interact with her children, as she would taint them with her immoral character. Nora is attempting to set matters straight with the moneylender, searching for solutions, dealing with her own consciousness of the infamous act. The third act is a confrontation between Nora and her husband,- he has just discovered her crime and is disgusted with her, he minces no words to condemn her. Nora in her shame is prepared to leave him, the children and disappear from their lives. Then suddenly the note comes stating that the damning document with forged signature is destroyed and the secret is safe. Torvald is overjoyed, forgiving and prepared to continue family life with Nora happily ever after. Nora decides, however, to depart anyway, determined to be her own person and not a doll in the doll’s house.
There are famous lines in this play, so innovative in 1879, when Nora is asked what she would like to receive as a gift and replies, " Could you give me money" Perhaps it was for the first time a woman publicly asked for money for herself. There are striking moments of change in Torvald and in Nora, evolution into maturity in the case of Nora, especially in the third act, both of them standing amidst their disintegrating house.
Nick Walsh directed the play. In the past he also directed The Blood Relations - a local production, not the Shaw Festival. The actors are young: Angi Noe (Nora) presently a student at the University of Waterloo, Steve Leslie (Torvald), a bit older, Neil Murray and others in various stages of gaining experience. But the overall impression is good, after a rather stilted first act they all get into their characters and shine at the end. It is a pleasure to see a group of young enthusiastic people undertaking a classic play with some depth, not just crowd pleasing stand-up comedies. Good for them all, bravo for the Registry Theatre!
