A Doll’s House by Henrik Ibsen was published in Norwegian as Et dukkehjem in 1879 heralding a new age of modern drama. First performed in the same year, the play centered on an ordinary family – Torvald Helmer, a bank lawyer, his wife Nora, and their three little children. The play dealt with the fate of a married woman, who lacked opportunities for self-fulfilment in a male dominated-world at that time and was celebrated both as a coup for women’s rights and an insult to morality and family values.
One hundred and thirty-eight years later, Lucas Hnath, a young American rockstar playwright imagined what might have happened to Nora after she famously slammed the door leaving behind her family and the world as she knew it.
A Doll’s House, Part 2 begins with a knock at the door. Housekeeper Anne Marie who also has been nanny to the children answers the door. “Nora, Nora, Nora”, she says, kindly shaking her head.
Hnath’s narrative in this “sequel of sorts” brings to light Nora’s new life and the reason for her audacious and unexpected return after 15 years. The past is debated and their mutual present pondered by four characters with ramifications for the future of all.
A Doll’s House, Part 2 takes audiences on an exploration of the personal costs of political statement, brilliantly rubbing together contemporary and classic sensibilities. Nominated for every major theatre award in the US including 8 Tony Awards, this funny and audacious sequel delivers sassy insights into the power of personal opinion that tests family, marriage, responsibility and freedom of choice.
There are lots of twists and turns in the play and audiences don’t need to see Part 1 to enjoy this contemporary classic.
A Doll’s House, Part 2 plays at The Street Theatre opening June 15th through June 23rd.
“I’m not the same person who left through that door.”
“Take option 2“
About the playwright: Lucas Hnath
Born in 1979 in Orlando, Florida, Lucas Hnath is the author of more than a dozen full-length plays, including A Doll’s House, Part 2(2017), The Christians (2014), Red Speedo(2013), Death Tax (2012), and A Public Reading of An Unproduced Screenplay About the Death of Walt Disney (2011). Hnath’s work confronts tough moral and philosophical questions—about topics as diverse as healthcare, capitalism, scientiﬁc rivalry, faith, and mortality—without sacriﬁcing complexity or compassion. With inﬂuences including Alfred Hitchcock, Caryl Churchill, and Gertrude Stein, Hnath’s plays often begin in small, mundane situations, that, through precisely calibrated motions of dialogue and plot, shatter outward, transforming ordinary characters into ﬁgures of near-mythic signiﬁcance.
Hnath’s work has been produced nationally and internationally, including at the Playwrights Horizons, the Soho Rep, the Royal Court Theatre, the New York Theatre Workshop, and many others. A member of the Ensemble Studio Theatre and New Dramatists, and a winner of a Steinberg Playwright Award (2017), an Obie Award for Playwriting (2016), and a Guggenheim Fellowship (2015), he holds a BFA and an MFA from New York University, where he is an assistant professor in the Department of Dramatic Writing.