A Doll's House *****

Duke of York’s Theatre

EXCERPT: "Stephens, Cracknell and Morahan work together to make the play resonate in a far more recognisable and affecting way than should be the case in our progressive pro-feminist society."

Hattie Morahan is almost overwhelmingly good in Simon Stephens’ adaptation of Ibsen’s A Doll’s House. She plays Nora, a nineteenth century heroine whose character has been forged by the dictates of the patriarchal values she’s grown up under. Passed from her father to her husband like a pretty plaything, Morahan twirls and pouts and affects the part of a child without diminishing our sympathy for her character’s predicament. As she becomes exposed to the brutal possible legal consequences of her mishandled borrowing of money, and as she strives to keep her husband out the loop, we become increasingly aware of how very powerless she ultimately is – despite her impressive manipulation skills.

As the play develops, Morahan’s sensational performance exposes women’s difficulties: that the way to achieve power is through playing your husband, but that this in turn places one in the subjugated position that prohibits male respect or any real empowerment. It is a hefty play, and is dealt with by director Carrie Cracknell with real sensitivity. Stephens, Cracknell and Morahan work together to make the play resonate in a far more recognisable and affecting way than should be the case in our progressive pro-feminist society. The production has been brought up to date by more than the very real people and relationships we see before us: it also makes full and superb use of a wonderfully rotating set, designed by Ian MacNeil, that – along with Stuart Earl’s hair-raising musical score – becomes a central feature of the play.

Morahan imbues Nora with a necessary degree of self-congratulatory smugness and artful deceit, whilst conveying her good-naturedness and ready and sincere affection. And whilst Morahan does indubitably shine, the supporting cast do well not to seem flat by comparison. Dominic Rowan as her husband has the stage presence to make her fear of his reaction credible, whilst Caroline Martin as Nora’s plain and direct friend is not so opposite to Nora that we don’t believe in their mutual affection. Steve Toussaint’s performance as Dr Rank is at times a little laboured, and perhaps Nick Fletcher’s malicious intention to bring Nora down with him is just a tad too rapidly discarded, but overall the cast – including the children – are commendably strong and do Morahan, Cracknell, Stephens and MacNeil (the real stars of the show) proud.