Director's Note

During the last ten years I have taught Ibsen’s A Doll’s House in literature and theatre classes. At first I was surprised when my students were shocked by the ending, recalling the controversy of its 1879 debut and aftermath. I expected Nora’s story to be much less divisive in our time. Now, I have come to look forward to the energized discussions that arise from Nora’s choices; and from her relationship with her husband.

It was quite by chance that I came across Theresa Rebeck’s modernized adaptation Ibsen’s play several years ago. I remember being curious to see how Rebeck would modify the original. Once I started reading, I couldn’t put it down. Rebeck’s contemporary update feels seamless and relevant. She successfully brings Nora’s struggles into the 21st century while maintaining Ibsen’s renowned ending (no spoilers here). Rebeck’s treatment brings the play closer to us, and I believe, makes the story more accessible to our students. In this adaptation, Nora is no longer Torvald’s “little squirrel,” instead she has all the entrapments of a modern, high-society woman. We find that we can like her, and identify with her, as well as sit in judgment of the fated choices she is destined to make, as we watch her world unravel.

Rebeck, like Ibsen before her, has deftly set up these complex characters and their web of relationships. Over the last few years I have spent time with these characters as scene assignments in my acting classes. During those explorations, as well as during the past few months preparing to direct this production, I have come to see each of these characters as fundamentally flawed. It occurred to me that Nora and Evan’s (read Torvald’s) marriage is built on a faulty foundation: their relationship is in ruins, even before they can recognize it. This metaphor was the inspiration for Chris Hoyt’s dynamic set design. In spite of their flaws, I find I can sympathize with each of these characters. Although we can disparage their decisions, it is clear that they believe what they are doing is right. That, after all, is the stuff of great drama. 

I am grateful to my acting and directing students at CCSU, WCSU, Fairfield University and HCC for exploring this text with me over the past few years; I am grateful to the theatre faculty here at CCSU who have invited me to direct this production; and I am especially grateful to my husband and children for their support and involvement in this production, and to this fine group of actors, among the most dedicated I have worked with, for their generous collaboration.

Jan Mason, Director