Nora: A Doll’s House

Nora: A Doll’s House has been described as “a radical reinterpretation” of Ibsen’s original play. Performed by WAAPA Third Year Acting Students, and designed, built and crewed by WAAPA Production and Design Students, this version features a much larger cast than the West End Production, whose 2020 run was unfortunately cut short by the Covid Pandemic.

While the original, very controversial for its time, play was set in the present time in Norway, in 1879, when it made its debut, this incarnation featured three-time settings spanning a century, with three protagonists and a supporting cast for each. Thus, we find ourselves with three similar stories, set in 1918 at the end of the Great War, 1968 and 2018.

Drawing on the original story, all three Noras are unhappy in their marriage, all three have addictions (sugar, prescription pills and alcohol respectively) and all three are holding similar secrets of money borrowed through fraud, from their husband Thomas. Ultimately, all three face a different ending. 

The cast share the same space, sometime simultaneously, with excellent choreographed movement tying the three stories together and laying them across each other. Occasionally choral responses are used, and these are timed with absolute perfection.

The three Noras are superb. Bridget Bourke brings grace and strength to the first Nora, during the emergence of women’s suffrage, Sookyung Shin’s Nora, during the swinging sixties, is determined but vulnerable, while Alexandria Henderson's 2018 Nora is expertly draw, familiar and relatable.

Husbands called Thomas, rather than Torvald, are blind to Nora’s distress, and expertly portrayed, with great work from Thomas Bitti and Oliver English, with Riley Waner being particularly intimidating. Old friend Christine is played by Dinasha Perera, Natasha Person and Mia Fitzgerald, with great impact.

Strong work also from Angelo Torres and Joshua Everett as Daniel and Deep Sore, Uisce Goriss-Dazely and Antony Press as Nathan. 

Recognisably “of the era”, costuming is also well selected for character by set and costume designer Ella Firns, lighting designed by Jakob Dorst supports the emotional journey of the play, and sound design by David Stewart serves the production well (the sounds of the children playing are outstanding). Movement direction by Sam Chester is simply superb.

Nora: A Doll’s House is a strong, expertly acted production that will appeal to lovers of the classics as well as those who love a new dynamic script. Definitely not the play you studied at school or university; this will not disappoint.

Kimberley Shaw