Jamie Lloyd: Last News

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‘A Doll’s House’ Review: Jessica Chastain Shines in a Broadway Staging That Brings Sparkling Clarity to a Classic
Trish Deitch There are no props in director Jamie Lloyd’s version of Henrik Ibsen’s drama “A Doll’s House” — no sets, no costumes (just plain contemporary clothing in dark blue), not even a curtain. There’s no dress to be mended, no mailbox, no letter to be read, no cigar to be lit, no children. There are no acts, though Ibsen wrote his 1879 play in three. All you see when you enter the theater is a vast, empty shell of a Broadway stage, the bright houselights exposing the building’s industrial brick walls whose paint has faded from show to show, and a few wooden chairs stacked in back. Oh, and there’s Jessica Chastain, her red hair pulled back, seated in a wooden chair on a turntable and slowly circling the stage in a simple blue dress. It’s hard to say if she’s in character as she comes round again and again — if she’s Nora, that is, a dutiful wife with three young children who, as the play opens, is finally about to get a reprieve from relative poverty because her husband, Torvald (Arian Moayed), has been promoted at the bank where he works — or if it’s Chastain herself placidly looking out at audience members as they file in and get settled in their seats. Over time, one by one, the rest of the cast comes out, taking chairs off a stack onstage, placing them here and there, and sitting quietly with their backs to Chastain.
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