Running since March 2017 Nora Helmer returns to the home she abandoned years ago in a new play that continues the story of Henrik Ibsen's most cherished work.
The Broadway production of A Doll's House, Part 2 closed September 24, 2017. For current Broadway show listings and tickets, please click here.
From the producers: In the final scene of Ibsen's 1879 ground-breaking masterwork, Nora Helmer makes the shocking decision to leave her husband and children, and begin a life on her own. This climactic event - when Nora slams the door on everything in her life - instantly propelled world drama into the modern age. In "A Doll’s House, Part 2," many years have passed since Nora’s exit. Now, there’s a knock on that same door. Nora has returned. But why? And what will it mean for those she left behind?
Henrik Ibsen's "A Doll's House" originally premiered at the Royal Theatre in Copenhagen, Denmark in 1879. The play is significant for its critical attitude toward 19th-century marriage norms. It aroused great controversy at the time, as it concludes with the protagonist, Nora, leaving her husband and children because she wants to discover herself. In 2006, the centennial of Ibsen's death, "A Doll's House" held the distinction of being the world's most performed play for that year.
The cast includes Tony winner Julie White ("The Little Dog Laughed"), Tony nominee Stephen McKinley Henderson ("Fences"), Tony Award winner Jayne Houdyshell ("The Humans," "Follies") and Erin Wilhelmi ("The Crucible"). Author Lucas Hnath’s plays include "Hillary and Clinton," "Red Speedo" and "The Christians." Tony Award winner Sam Gold ("Fun Home") directs.
[Metcalf gives] a revelatory performance... and the rest of the small company is equally accomplished. Hnath's script is an irreverent yet respectful take on the source material. It may rely a little heavily on wink-wink, nod-nod references to the future...but it becomes clear that this is not your grandmother's Ibsen. A worthy companion piece to the original, [it] is an imaginative postscript to a well-loved standard.
Terrific...it delivers explosive laughs while also posing thoughtful questions about marriage, gender inequality and human rights. Directed with stylish austerity and not an ounce of flab, the play provides a corker of a role for the indomitable Metcalf. [She] is flanked by equally rich characterizations from three actors at the top of their game. This taut, 90-minute single act is as much an ingenious elaboration and deconstruction of "A Doll's House" as a sequel, and it stands perfectly well on its own.
New York Daily News
Compact and provocative...Hnath answers all in his fast-faced Broadway debut. It's his best work to date and straddles period and modern eras. The costumes are late 19th century, the language is very much today. So is director Gold's staging. Each character adds to the conversation about serious subjects...the issues aren't new but presented in intriguing ways. This production...plays Nora's situation very much as comedy. Metcalf can clown with the best of them.
New York Magazine
Thrilling...Hnath provides enough ingenious structure to allow "A Doll's House, Part 2" to function quite smoothly as an often hilarious puzzle drama. It's Metcalf and Houdyshell who are giving the master class here...just extraordinarily detailed, in-the-moment acting. The march of progress, halting as it is, has allowed a male playwright in 2017 to write a work that the inhabitants of "A Doll's House (Part 1)" in 1879 could never have imagined: a great feminist comedy.
New York Times
Smart, funny and utterly engrossing...and features a magnificent Metcalf leading one of the best casts in town...Hnath has a deft hand for combining incongruous elements to illuminating ends. The contemporary speech of his characters puts their conversation more completely in our heads. [It] never feels like a debate, such is the emotional commitment of the cast and the immediacy of Gold's fine, sensitive production...[an] unexpectedly rich sequel.
Dazzling theatrical fireworks...The play - a psychologically serious, deliciously amusing tragicomedy - extends Ibsen's three-act, multicharacter masterwork with just four characters in an intense but surprisingly breezy 90 minutes. [In] director Gold's stark, audacious, daringly acted production...Metcalf [is] magnificent and droll. It would be a crime to reveal too much of the twisty, devious plot. Hnath lets no one off the hook...he also keeps us guessing until the last possible moment.
Time Out New York
Lucid and absorbing...the great Metcalf [plays Nora] with magnificent grit and frustration. If Ibsen's play is about suffocation, Hnath's is about airing things out. Modern in its language, mordant in its humor and suspenseful in its plotting, the play judiciously balances conflicting ideas about freedom, love and responsibility. And Sam Gold's exemplary direction keeps you hanging on each turn of argument and twist of knife. Everything about the production works. It's a slam dunk
Helmer Gold knows his players and pairs them in a series of close encounters that feel like fierce, if friendly wrestling matches. Hnath's dialogue, slangy and vulgar and brightly idiomatic, is full of zingers. Metcalf is amazing, uncovering so many facets to Nora...while retaining the humor to laugh at her idiocies. But by now, we're starting to suspect that this isn't really a play, but a very funny and quite biting manifesto that Nora could just as easily deliver to an auditorium of avid students in women's studies.