Carly and Troy do ‘A Doll’s House’

This adaption keeps the spirit of the original and exposes the controlling underbelly of a relationship that was always there lurking in the text, hidden in manners and frippery. The two actors share their artistic plans and it is clear from the start that Beyonce, glitter and dancing are high priorities for Troy and not so much for Carly.

There is a panelled screen which the actors cleverly use to change scenes, hide behind, burst through and project images on. They intertwine a “Big Brother” style confessional reflection, doubled images of the action, filmed action, straight acting, dancing and the actors workshopping what to do next. Lighting and sound unobtrusively support the actors. This all forms a creative whole that presents and parallels Ibsen’s work in a respectful, thoughtful and insightful way.

Ibsen’s play ends with his female protagonist finding her strength as a separate person after her eyes are opened to the nature of the relationship she has with her husband. In Carly and Troy’s version this becomes a (very well acted) fight over artistic differences. For me it misses the depth of the analysis and transformation Ibsen is able to present. This is the only moment of disappointment. Troy and Carly’s adaption of The Doll’s House is physical, sassy and strong.

Ruth Richter