‘A DOLL’S HOUSE’: Arian Moayed & Jessica Chastain. Photo: Courtesy of ‘A Doll’s House.’

A DOLL’S HOUSE
Written by Henrik Ibsen
New Adaptation by Amy Herzog
Directed by Jamie Lloyd
Through June 10, 2023
Hudson Theatre
141 West 44th Street
(855-801-5876), www.ADollsHouseBroadway.com

By David NouNou

Henrik Ibsen wrote his renowned drama A Doll’s House—one of the first and finest pre-feminist plays of the day— in 1879. Amy Herzog has translated it into a riveting post-feminist play, and director Jamie Lloyd has taken this splendid piece and reinvented it into his usual dreary manner of stripped-to-the- bone-bare minimalism. Remember his equally misguided venture in the 2019 revival of Harold Pinter’s Betrayal?  It appears that Mr. Lloyd’s vision of any revival is not to deal with the content and detail of the play, no anchoring of the play—just a gimmick of letting it play on any bare stage and let it land where it lands.

In A Doll’s House, Ibsen provided a wonderful grounded play of a beautiful, young, self-absorbed woman chirping like a bird at the onset of the play, to amuse her husband, and by the end to an open-eyed woman of her day to map out her life moving forward. Amy Herzog has modernized the language brilliantly, almost word for word, as the original text to simplify the dialogue for modern audiences.

Nora (Jessica Chastain) and Torvald Helmer (Arian Moayed) have been married for eight years and have three children. They’ve had hard times but now Torvald has been made manager of his bank and money will be easier to spend. Nora is visited by her old friend, the widower, Kristine Linde (Jesmille Darbouze) and Nora reveals her problems to Kristine. Nora has borrowed money from a loan shark at the bank years ago, and has been paying it slowly, paying as much as her allowance permits. Torvald believes the money was from her father before he died, but in reality, to save Torvald’s pride, she borrowed it from a loan shark to pay for his health retreat in Italy to save Torvald’s life.

Kristine needs and ultimately lands a job at Torvald’s bank through Nora’s influence. Kristine gets to replace Nils Krogstad (Okieriete Onaodowan), a man who is her ex-boyfriend. Nils has made shady forgeries at the bank and is being dismissed. Nils comes to Nora to plead his case to Torvald to let him stay at the bank. He reminds Nora that he is the loan shark, that it was she who forged her father’s signature on the promissory note. Nora goes into a freefall on how to avert this crisis. The suffering of Nora and Torvald’s rebuking Nora upon finding what Nora has done is the crux of living in a doll’s house. Nora was her father’s little doll, married Torval and became his chirping doll, had kids and played dolls with them. She has to finally assess her life and realize herself as the woman she wants to be.

Having seen Claire Bloom, Liv Ullmann, Janet McTeer, and now Jessica Chastain, never have I seen a Nora as disciplined as what Ms. Chastain displays in her performance. When one enters the auditorium of the theatre, one sees Ms. Chastain sitting on a hard wooden-backed chair, spinning around a bare stage for 35 minutes not moving a muscle while other cast members amble in and take their positions on stage. It is Ms. Chastain’s alabaster beauty that rivets you to her and with it being a bare stage, you can’t take your eyes off her.

Watching Ms. Chastain start as the chirping doll, coquettish and self-indulgent, morphing into despair and desperation, her disillusionment in her husband, and finally coming to her own resolve and what she must do is an entrancing and a formidable performance. What’s more amazing is that her performance is being given while sitting on this uncomfortable chair. She has to deal with each character, sitting down, and go through her emotions without being able to move. Even in the end when she asks Torvald to return her ring and in turn, she gives him back his, there are no rings to exchange. Wow, now that is minimalism.

Ms. Chastain is ably supported by Ms. Darbouze as Kristine, Okieriete Onaodowan as Nils Krogstad, but Arian Moayed is a different story. Mr. Moyaed’s character starts out as the obnoxious self-consumed Torvald, and his childish tantrum near the end is so over the top that a medic has to be called in. Dr. Lloyd, where were you when all this was taking place?

Amy Herzog has delivered a beautiful translation of Ibsen’s A Doll’s House, Ms. Chastain delivers what could easily be a Tony-winning performance for Best Actress in a drama, and Jamie Lloyd doesn’t even let the actors interact face to face with each other. They are either talking back-to-back, across the stage from each other. I guess this is to show the great divide between his characters. Go see this production simply for the sublime Ms. Chastain giving one of her best performances ever and overlook all the other shortcomings.

Edited by Scott Harrah
Published March 17, 2023
Reviewed at March 16, 2023 performance.

‘A DOLL’S HOUSE’: Okieriete Onaodowan & Jessica Chastain. Photo: Emilio Madrid.

‘A DOLL’S HOUSE’: Jessica Chastain. Photo: Courtesy of ‘A Doll’s House.’

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‘THE HUMANS’: (left to right) Reed Birney, Jane Houdyshell, Sarah Steele, Arian Moayed. Photo: Brigitte Lacombe

THE HUMANS
Written by Steven Karam
Directed by Joe Mantello
Helen Hayes Theatre
240 West 44th Street
(212-239-6200), www.thehumansonbroadway.com

By Scott Harrah

Dysfunctional family dramas have become a staple in American theater, but Steven Karam’s The Humans, which just transferred to Broadway after a brief run at the Roundabout Laura Pels, is the rare exception of such a play that resonates with a natural universality. Think of this as a one-act, abridged version of Tracey Letts’ August: Osage County with a supernatural twist. Director Joe Mantello has left everything from the Off Broadway version intact, from the fine cast to the unique, split-level set depicting a bare bones Manhattan basement duplex apartment.

Steven Karam, best known for his 2011 drama Sons of the Prophet, establishes himself as one of America’s leading playwrights here with the saga of the Blakes. The family has traveled from Scranton, Pennsylvania to spend Thanksgiving with daughter Brigid (Sarah Steele) and her boyfriend Richard (Arian Moayed) in their new Chinatown abode. In 95 minutes, we learn about the many troubles of the family. Brigid and Richard are swimming in student loan debt. Brigid’s parents Erik (Reed Birney) and Deirdre (Jane Houdyshell) are in their 60s and have mounting financial troubles, plus the burden of taking care of Erik’s mother, Momo (Lauren Klein), suffering from the late stages of Alzheimer’s. Older daughter Aimee (Cassie Beck), an attorney, is grappling with a debilitating health problem and a lackluster love life (her girlfriend recently dumped her).

Throughout the show, we hear strange sounds, many of which Brigid blames on an elderly neighbor, while others are attributed to a trash compactor. As the show progresses, the sounds become stranger and more jangled and disturbing. Are these the sounds of the neighbor, typical street noise in Manhattan, or something darker and more sinister? This is one of the many enigmas never explained.

The story has all the elements of a crisis-by-the-numbers, formulaic drama, but what sets it apart from others is the crisp, often hilarious dialogue and the onstage chemistry of the cast. Besides the personal turmoil of each character, there isn’t much else to the plot other than everyone is gathered to spend the most iconic American holiday together. The Blakes are folks who are much like many struggling middle-class Americans in the 21st century. They struggle to keep and find jobs and make ends meet and argue about religion and values, or even things as trivial as organic “super foods.”

What’s most remarkable here is the great ensemble acting, expertly directed by Joe Mantello. Mr. Birney and Ms. Houdyshell truly standout, but credit must also be given to the technical and set wizards of the show: David Zinn for his innovative scenic design; the lighting design by Justin Townsend; and the sound design of Fitz Patton because The Humans relies heavily on the set, sounds and lighting to evoke the mood and take the audience on an emotional ride that is already one of the 2015/2016 season’s most-talked-about dramas.

Edited by Scott Harrah
Published February 21, 2016
Reviewed at press performance on February 20, 2016

‘THE HUMANS’: Sarah Steele & Reed Birney. Photo: Brigitte Lacombe

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‘THE HUMANS’: (left to right) Sarah Steele, Arian Moayed, Jayne Houdyshell & Lauren Klein. Photo: Joan Marcus

THE HUMANS
Written by Steven Karam
Directed by Joe Mantello
Through December 27, 2015
Laura Pels Theatre
111 West 46th Street
(212-719-1300), www.Roundabouttheatre.org

By David NouNou

Stephen Karam is one of the most promising and exciting new playwrights to have emerged in the last 10 years. So I was most anxious to see what his follow-up to the exquisite 2011 production of Sons of the Prophet would be, and true to form, he has lived up to his early promise with The Humans.

For The Humans, he has created a puzzle in which all the pieces should fit together seamlessly but amazingly all the pieces have imperceptible jagged edges where nothing fits. The puzzle might as well have the setting of a “The Twilight Zone” episode and the outer parameter of the puzzle is centered on one of the most iconic American holidays, Thanksgiving. The Blake family has driven all the way from Scranton, Pennsylvania to celebrate Thanksgiving dinner with their younger daughter in her new basement duplex apartment in lower Manhattan, NYC.

As in Sons of the Prophet, everyone here carries a heavy burden and each person carries their burden in silence…until that fateful moment. Eric (Reed Bierney) and Deidre (Jayne Houdyshell) Blake have come with their older daughter, Aimee (Cassie Beck), and Momo (Lauren Klein), their Alzheimer-riddled mother, in what appears to be celebrating Thanksgiving with their younger daughter, Brigid (Sarah Steele) and her boyfriend Richard Saad (Arian Moayed) in what most any family would deem as a happy get-together and that’s all you’re going to get out of me.

I say this because I truly believe that each viewer has to formulate his or her own opinion when first viewing a new piece of such magnitude. It is unfair both to the playwright and the audience to divulge more information because it hinders the experience and the layers that the writer has imbued in this piece.

As directed by Joe Mantello, he extracts excellent performances from each of his cast members; however the veterans Reed Bierney and Jayne Houdyshell are standouts. In the wrong hands, this could have been a maudlin evening, but in Mr. Mantello’s hands, he keeps his cast and things moving at a fast-pace. I have to add that David Zinn’s set is a visual treat. His duplex anchors the show and all that is about to unfold.

This is a theatrical experience that is most enjoyable in a small, almost claustrophobic venue, so I urge you to see it at the Laura Pels Theatre. For this particular Thanksgiving dinner, you have to be a guest and not an audience member.

Edited by Scott Harrah
Published October 29, 2015
Reviewed at press performance on October 28, 2015

‘THE HUMANS’: (left to right) Cassie Beck, Arian Moayed, Reed Birney, Jayne Houdyshell, Lauren Klein & Sarah Steele. Photo: Joan Marcus

‘THE HUMANS’: (clockwise from top) Sarah Steele, Cassie Beck, Arian Moayed, Jayne Houdyshell & Reed Birney. Photo: Joan Marcus

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