In his time, Norwegian playwright Henrik
Ibsen was considered something of a maverick. In fact, Ibsen,
who moved from romanticism to naturalism in theater, is generally
acknowledged as the founder of modern drama. Today his work has
become part of the cannon of dramatic literature.
Mabou Mines, a company noted for its deconstruction of the classics
like the gender-reversed "King Lear," has taken Ibsen’s
"A Doll’s House" and turned its weighty themes of confining
marriages and the emancipation of women into the stuff of comedy
and satire.
Lee Breuer, who adapted and directs Mabou Mines "Dollhouse"
(at St. Ann’s Warehouse in DUMBO until Dec. 7), has created a
production that scintillates and titillates. It is arresting
both visually (Narelle Sissons has designed a dollhouse set complete
with miniature furniture, piano and tea set) and aurally (Ning
Yu accompanies each scene with Eve Beglarian’s Edvard Grieg-inspired
music, much like in the days of silent film).
But what really sets this production apart is Breuer’s use of
scale to mock traditional ideals of power. The male parts are
all played by actors whose heights range from 3-foot-4 to 4-foot-5,
while the women are all extremely tall. The excellent Honora
Fergusson, who plays Nora’s maid, Kristine, is 6 feet tall.
Much of the time the women are on their knees or backsides so
they can meet the men eye-to-eye. When they are annoyed or amorous
they even pick up the little guys and deposit them at a different
spot on the stage.
The men make up in bravado what they lack in stature. While the
women caper about in crinolines and bustles, the men are stately
and imposing in long coats, stiff collars and lavish capes. Meganne
George’s costumes are nothing less than exquisite.
Mabou Mines’ "Dollhouse" abounds with extraordinary
acting – Mark Povinelli as Nora’s overbearing husband, Torvald;
Kristopher Medina as the vindictive Nils Krogstadt; and Ricardo
Gil as the lovesick Dr. Rank. But it is Maude Mitchell as the
petted and protected Nora who steals the show.
With her squeaky voice and mincing steps, Mitchell is every inch
the "doll" in Ibsen’s drama. Yet she is also clever
and determined – a bit like Lucy trying to trick Ricky with one
of her harebrained schemes in an "I Love Lucy" episode.
And she’s just as funny.
Beneath all the glitter, however, this production follows Ibsen’s
original drama rather faithfully. Nora has forged documents to
get money necessary to save Torvald’s life. Krogstadt is in possession
of those documents and threatens to expose Nora unless she convinces
her husband not to fire him for (of all things) forgery.
In the meantime, Nora’s old friend Kristine, who was at one time
in love with and loved by Krogstadt and is now a widow, appears
just as Nora is preparing for Christmas. She asks Nora to persuade
Torvald, who was just promoted to bank manager, to give her a
job at his bank. And Dr. Rank, who believes he is dying of some
unspecified disease, declares his love (or passion) for Nora.
In many ways, Mabou Mines "Dollhouse" unfolds more
like a dance than a straight drama. Indeed the choreography (created
by Martha Clarke, Eamonn Farrell, Clove Galilee, Erik Liberman,
Jane Catherine Shaw and Norman Snow) is essential in giving the
play its humor, its satire, its excess and its passion.
It’s hard to imagine what Ibsen, who lived an austere and mostly
joyless life, would have made of Breuer’s recasting of his highly
moral and psychological ponderings on humanity. One can only
hope that he would recognize in Breuer a kindred spirit, fully
in tune with his rebellious, trail-blazing nature.
"Mabou Mines Dollhouse" plays
through Dec. 14, Tuesdays through Saturdays at 7:30 pm, and Sundays
at 4 pm, at St. Ann’s Warehouse (38 Water St. at Dock Street
in DUMBO). Tickets are $22.50 Tuesdays through Thursdays at 7:30
pm and Fridays, Saturdays and Sundays at $27.50. For tickets,
call (718) 254-8779. For more information, visit www.stannswarehouse.org.
