In this always compelling production, director Carey Perloff decided to bring the uncanny on stage, almost as a sixth character, in the form of composer/musician David Coulter.
An invigorating staging of Henrik Ibsen’s still pertinent play about spinelessness up and down the political spectrum.
This is a thoroughly pedestrian production — wobbly, uninspired, and often downright tedious.
In this Shaw Festival production we have something all too 21st century: the deliberate dumbing down of a complex play.
Despite some awkward staging decisions and the script tampering, there is plenty of lively drive in this production of Hedda Gabler.
Ibsen’s and Miller’s scientist hero must contend with denial, disbelief, ignorance, fear of change, malice, opportunism, greed, the abuse of power, censorship, betrayal, and violence. Sound familiar?
An underground academic critic explores the fascinating intersections between the Kardashian sisters’ novel “Dollhouse” and Ibsen’s play “A Doll House.” The more things change …
Henrik Ibsen’s rejection of the everyday drives this compelling take on “Hedda Gabler” – the production generates a theatrical arena that is simultaneously acrobatic and surreal.
Dramatist Theresa Rebeck’s updated version of Ibsen’s play strengthens one key aspect of A Doll’s House—its picture of savage incomprehension between man and woman, which drives Ibsen’s call for independence and self-respect in a society that rewards complacency, greed, and childish role-playing. DollHouse by Theresa Rebeck. Based on A Doll’s House by Henrik Ibsen. Directed […]