The new production of A Doll’s House at Sheffield Theatres, adapted by Chris Bush and directed by Elin Schofield, is a masterclass in modernized Ibsen. Combining a meticulously honed script, powerful performances, and impeccable direction, it successfully brings Henrik Ibsen’s 19th-century masterpiece into the present, making it feel both timely and timeless.
Chiara Stephenson’s set design is a stunning visual canvas that seamlessly complements the narrative. The stage, elegant in its simplicity, evokes the restrained beauty of a bourgeois home, with attention to minute details that create an immersive experience. Each scene shift is managed with subtlety and grace, emphasizing the thematic shifts in Nora’s journey. Combined with Richard Howell’s lighting, the set plays a crucial role in crafting an atmosphere that oscillates between warmth and claustrophobia, reinforcing the emotional tension of the play.
Tom Glenister’s portrayal of Torvald is one of the production’s greatest strengths. His Torvald carries a quiet sincerity that amplifies the dramatic irony throughout the play. Glenister gives the character an almost tender concern, which makes his condescension all the more tragic. Torvald’s inability to see beyond the patriarchal lens through which he views Nora allows for the play’s feminist subtext to rise with clarity. Glenister’s performance is nuanced, illustrating how deeply ingrained his character’s paternalistic tendencies are.
Siena Kelly’s Nora is a revelation. Rarely leaving the stage, Kelly delivers a deeply layered portrayal of a woman unraveling within the confines of her societal role. She skillfully navigates the shifts between Nora’s seemingly superficial charm and the profound emotional turmoil beneath. Her energy and command of the character keep the audience enthralled, especially as the story builds towards its explosive conclusion. The final 20 minutes between Nora and Torvald are nothing short of perfection. The tension, power dynamics, and raw emotion are handled with exquisite precision, making the ultimate confrontation utterly captivating.
Chris Bush’s adaptation of Ibsen’s original text is a triumph. Balancing faithfulness to Ibsen’s themes with modernized dialogue, Bush enhances the original while maintaining its integrity. It’s a delicate and honest treatment of the source material that feels deeply respectful, yet refreshingly accessible. The incorporation of modern language adds clarity to the play’s themes, allowing for easier engagement without ever feeling forced. Bush’s additions blend seamlessly into the original, so much so that it’s often difficult to discern what’s new and what’s Ibsen. The result is a script that sharpens the focus on Nora’s personal journey while making the play feel more relatable to a contemporary audience.
Elin Schofield’s direction is exceptional. By allowing the script to breathe, Schofield ensures that the performances take center stage, never cluttering the action with unnecessary distractions. Her clean and effective approach builds tension beautifully, particularly in the second act, where the stakes gradually rise until the final showdown between Nora and Torvald. The direction also brings out moments of humour with subtlety, enhancing the character dynamics without undermining the play’s gravitas. There’s a lightness of touch in Schofield’s handling of the material that makes the production feel refreshing and urgent.
This new production of A Doll’s House is an achievement across all fronts. Aaron Anthony as Dr. Rank, Eben Figueiredo as Krogstad, Mel Lowe as Anna/Pianist, and Eleanor Sutton as Christina all deliver strong performances, supporting the central narrative with care and precision. The production team—including Movement Director Ahmed Hamad, Sound Designer Tingying Dong, and Composer Nicola T Chang—contribute to a cohesive and immersive theatrical experience. With Bryony Jarvis-Taylor’s casting choices perfectly fitting each role, this is a must-see revival that breathes new life into Ibsen’s classic.
A Doll’s House runs at the Sheffield Crucible until Saturday 12th October.
Photography throughout from Mark Douet.
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