Adaptation of 'Great Gatsby' brings pre-COVID scale to Broadway

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• Deadline Launches Contenders Television Streaming Site
• Hudson Theatre; 946 seats; $189 top. Opened March 9, 2023. Reviewed March XX. Running time: ONE HOUR, 50 MIN.
• GREY HOUSE PLAYED ITS FINAL BROADWAY PERFORMANCE ON JULY 30
• Review: ‘Cabaret’ with a kinetic Eddie Redmayne can’t redeem a faltering Broadway revival
• Okieriete Onaodowan

Torvald explains that, when a man has forgiven his wife, it makes him love her all the more since it reminds him that she is totally dependent on him, like a child. He preserves his peace of mind by thinking of the incident as a mere mistake that she made owing to her foolishness, one of her most endearing feminine traits. A maid enters, delivering a letter from Krogstad to Nora, which Torvald demands to read himself. Torvald then exults that he is saved, as Krogstad has returned the incriminating bond, which Torvald immediately burns along with Krogstad's letters. He takes back his harsh words to his wife and tells her that he forgives her. Nora realizes that her husband is not the strong and gallant man she thought he was and that he truly loves himself more than he does Nora.

Deadline Launches Contenders Television Streaming Site

Torvald is a walking, talking example of what we’d now call gaslighting, using the expressions of love and worship to keep his trophy wife – a crass modern term that writer Herzog would never stoop to – both under his thumb and on display. Her recent work includes Netflix’s The Good Nurse, HBO’s “Scenes From A Marriage,” Universal’s The 355, and Roadside Pictures’ The Forgiven. A Doll’s House is by Henrik Ibsen, a Norwegian playwright and poet who is widely considered one of the fathers of modern theatre. A Doll’s House is arguably his best-known play, but his other famous works include Hedda Gabler, Ghosts, An Enemy of the People, and The Wild Duck. Ibsen is the most frequently performed playwright in the world after Shakespeare. The Hudson Theatre is a dollhouse come spring, when Henrik Ibsen's groundbreaking play A Doll’s House gets its latest Broadway revival starring Academy Award winner Jessica Chastain.

Hudson Theatre; 946 seats; $189 top. Opened March 9, 2023. Reviewed March XX. Running time: ONE HOUR, 50 MIN.

Lots of celebrities have taken on the iconic roles of Nora, Torvald, and more. Discover the celebrities who have starred in A Doll’s House and which productions they led. A Doll’s House is set in 19th-century Norway and follows Nora Helmer, the wife of a bank manager and mother of three children.

GREY HOUSE PLAYED ITS FINAL BROADWAY PERFORMANCE ON JULY 30

They include a super (Brenda Wehle), a nurse (April Matthis), a niece (Lily Santiago) and a Facebook friend (Susan Pourfar), who also has a child with special needs. Ibsen's German agent felt that the original ending would not play well in German theaters. In addition, copyright laws of the time would not preserve Ibsen's original work. Therefore, for it to be considered acceptable, and prevent the translator from altering his work, Ibsen was forced to write an alternative ending for the German premiere. In this ending, Nora is led to her children after having argued with Torvald.

This strictly limited 16-week engagement will play Broadway's Hudson Theatre with preview performances beginning Monday, February 13, 2023 ahead of a Thursday, March 9, 2023 opening night. A Doll's House was last revived on Broadway in 1997 co-starring Janet McTeer and Owen Teale, who both won Tony Awards for their performances. The production also earned Tonys for Best Revival of a Play and Best Direction of a Play (Anthony Page). It is a thing of beauty, this play, and a relief to be spared the spectacle in favor of a kind of pure view of what Ibsen meant to convey. Chastain’s performance is restrained, and yet you can witness each unique moment register on her face (there are a lot of silent tears and, because there are no props, no handkerchiefs to soak them up with!). And Moayed as Torvald is convincing as a man who sounds like a loving, devoted husband but is, underneath, selfish, shallow, ungrateful and narcissistic.

Any aversion to minimalism or even the vaguely avant-garde might spur disappointment in this production. There are no period costumes here, no homey 19th century furnishings or Christmas trees in sight. This Doll’s House, opening tonight at the Hudson Theatre, is as much suggestion as action, our main character seated in a chair throughout nearly all of the play, even when she dances.

Jessica Chastain to Star in New Broadway 'A Doll's House' (Published 2022) - The New York Times

Jessica Chastain to Star in New Broadway 'A Doll's House' (Published .

Posted: Wed, 16 Nov 2022 08:00:00 GMT [source]

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The 12-dancer company is highly individualized, distinct in presence and style of movement. Each figure suggests a unique background, but certain facets of being recur. The inherent difficulty of coming of age is shared in a piece that tracks the movement from innocence to experience.

Torvald’s objectification and deification of her as she dances—“a little looser and wilder than that dance is technically supposed to, but it doesn’t matter, everybody loved it, huge response”—is delivered with a dementedly prissy brio by Moayed. Her face is its own fascinating, spinning stage of emotions—upset, mischief, goading, vanity, boastfulness, pride—and for most of the play you do you doubt that she is across everything. When Krogstad threatens her (Onaodowan cleverly balances a terse malevolence with an understandable desperation of his own), she says to him, “That you would take my secret, which I’m so proud of, and tell him in such an ugly, nasty way—that he would hear it from you. That would be...just incredibly...unpleasant.” That last word is said not with fear, but clipped condescension. Nora frets over the tightening of these screws, with only the help of an old friend Kristine (Jesmille Darbouze), who handily, or not, was once romantically involved with Krogstad.

Lottery tickets are limited to one entry per person and two tickets per winner. Dark Disabled Stories isn’t a great show because it makes you think; it’s a great show because it’s funny, moving, enraging, and intelligent—and it reminds you how to see, listen, understand, and empathize with others. Ospina tells us how many times she has missed personal and professional engagements because lifts listed as working are not, in fact, working—meaning Ospina is left literally underground not knowing how and when she will be able to get out. The excellent Thornton brings a wonderful, nuanced life to Dr. Rank—rogue-ish, cove-ish, mordantly witty, deeply caring—whose declaration of love to Nora is met with disgusted condemnation—that, she says, it was “unnecessary” to say. ” His departure from the stage, and the world, saying to Nora the double-meaning, “Thank you for the light,” is spine-tingling and heart-thudding, all at once.

For one, she is keeping a financial secret from her husband that threatens to ruin their marriage and her standing if it gets out. For another, she realizes she's not truly happy in her marriage and wants to forge her own independent life. The play explores the themes of gender roles, marriage, and the struggle for freedom in a restrictive society. Whether the piece — I hesitate to call this delicate hybrid a show — is more dance than musical is not all that important. Let the theater award categories stretch to accommodate new forms and visions.

And then… well, other reviews may reveal what happens at the end of this production of A Doll’s House. Well, Chastain does deliver a few audience-cheering home truths Torvald’s way. But it’s an odd change in register, given Nora’s quicksilver and intriguing mood changes that precede it. Here, her Nora suddenly becomes a very traditional Nora—solid, determined, resolute. The honesty, though, is too little, too late for this marriage, and Nora’s self-actualization will seem to strike a bit too abruptly if you haven’t been studying Chastain’s expressions.

This pull, this force, has Nora in its grip up until this night, on this empty stage, when even an audience facing in her direction doesn’t notice her. In this revival, what’s left is a beautiful, spacious clarity about what this oft-produced play is about, who these characters are, what they mean to one another and how they may (or may not) impact audiences of today. There is nothing but dialogue pared down by playwright Amy Herzog (the rare woman interpreting “A Doll’s House,” at least on Broadway) and played with great skill by most of the actors in the production. 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.

A limited number of $35 general rush tickets are available in-person at the box office on the day of the performance, on a first come, first served basis. Nora asks him for a favor, but Rank responds by revealing that he has entered the terminal stage of his disease and that he has always been secretly in love with her. Nora tries to deny the first revelation and make light of it but is more disturbed by his declaration of love. She then clumsily attempts to tell him that she is not in love with him but loves him dearly as a friend. Kristine arrives to help Nora repair a dress for a costume function that she and Torvald plan to attend the next day. Torvald returns from the bank, and Nora pleads with him to reinstate Krogstad, claiming she is worried Krogstad will publish libelous articles about Torvald and ruin his career.

The production, which was at the Park Avenue Armory earlier this season, has arrived at the St. James Theatre in the role of deus ex machina, rescuing Broadway from its hidebound habits. Amy Herzog is best known on Broadway for paring-down plays written by Henrik Ibsen. Her version of “An Enemy of the People,” starring Jeremy Strong, now runs on Broadway, and last season her version of “A Doll’s House” starred Jessica Chastain. Since Broadway reopened after closing for 16 months due to COVID, there have been only scattered attempts to conjure the ambitious, broad-shouldered Broadway musical of yore. The rare showy productions — including “The Music Man,” “Funny Girl” and “Sweeney Todd” — have mostly been low-risk revivals.