When, next Wednesday evening, Hattie Morahan picks up an armful of Christmas shopping and steps on stage to open a run of Ibsen's A Doll's House, it will be for the third time in just over a year. Morahan first starred as Nora, the 1870s Norwegian wife and mother who realises her life is a sham, at the Young Vic last July, but such is the production's popularity that this is its second revival. Moreover, two other, brand new productions have been seen in recent months: in May an adaptation by Bryony Lavery received rave reviews at the Royal Exchange in Manchester, and in April Zinnie Harris's version, set in Edwardian London and first seen at the Donmar Warehouse in London with Gillian Anderson in the lead role, was staged by the National Theatre of Scotland in Edinburgh.
Three such high-profile productions in the space of a few months is unusual. Morahan has already won the Evening Standard and Critics' Circle awards for her performance and was unlucky to miss out to Helen Mirren at the Oliviers. But the combination of the play's brisk and thriller-like plotting, and the sense shared by everyone involved that the play still speaks to audiences in ways that feel fresh and interesting, means there is no fear of overkill.
In fact, Morahan, speaking to me just before Thursday's dress rehearsal, says she feels "liberated" to be occupying the role again, while director Carrie Cracknell says that even the last few days of rehearsals have thrown up new insights into Ibsen's endlessly complex characters. "There is something timeless about it," Morahan says, "which is what's so shocking. You try to keep it in its box of 19th-century Scandinavia, but the things Ibsen writes mean it ceases to be about a particular milieu and becomes about marriage (or partnership) and money. These are universal anxieties, and it seems from talking to people that it resonates in the most visceral way, especially if they are or have been in a difficult relationship. Someone said to me the other night, 'That's the play that broke my parents' marriage up.' It shines a very harsh light on the messy heart of relationships, and how difficult it can be to be honest with another human being even if you love them.
النتائج (
العربية) 1:
[نسخ]نسخ!
عندما، مساء الأربعاء المقبل، هاتي موران تلتقط مل ء الذراع التسوق في عيد الميلاد وخطوات في المرحلة فتح تشغيل دار A دمية في إبسن، سيكون للمرة الثالثة في سنة ونيف. موران أول نجمة نورا، 1870 زوجته النرويجية والأم الذي يدرك حياتها خدعة، الشباب بمركز فيينا الدولي في يوليو الماضي، ولكن هذه هي شعبية للإنتاج هذا هو أحيائها ثانية. وعلاوة على ذلك، شهدت في الأشهر الأخيرة الإنتاج الأخرى، والعلامة التجارية الجديدة اثنين: في أيار/مايو لتكيف حسب "لافري بريوني" تلقي استحساناً في "تبادل الملكية" في مانشستر، وفي إصدار أبريل زين هاريس، تعيين في "لندن الادواردي" وأول ينظر في المستودع دونمار في لندن مع جيليان أندرسون في دور الريادة، أقيم "المسرح الوطني في اسكتلندا" في أدنبرة.ثلاثة إنتاجات بارزة مثل هذه في الفضاء لمدة بضعة أشهر غير عادية. موران وقد فاز بالفعل "القياسي مساء" ودائرة النقاد جوائز لأدائها وكان سيئ الحظ أن تفوت على هيلين ميرين في Oliviers. ولكن تركيبة المسرحية انتعش والإثارة مثل التآمر، وشعور يتشاطره جميع المعنيين أن المسرحية لا يزال يتحدث إلى الجماهير في السبل التي تشعر بأنها جديدة ومثيرة للاهتمام، يعني ليس هناك خوف من الإسراف.In fact, Morahan, speaking to me just before Thursday's dress rehearsal, says she feels "liberated" to be occupying the role again, while director Carrie Cracknell says that even the last few days of rehearsals have thrown up new insights into Ibsen's endlessly complex characters. "There is something timeless about it," Morahan says, "which is what's so shocking. You try to keep it in its box of 19th-century Scandinavia, but the things Ibsen writes mean it ceases to be about a particular milieu and becomes about marriage (or partnership) and money. These are universal anxieties, and it seems from talking to people that it resonates in the most visceral way, especially if they are or have been in a difficult relationship. Someone said to me the other night, 'That's the play that broke my parents' marriage up.' It shines a very harsh light on the messy heart of relationships, and how difficult it can be to be honest with another human being even if you love them.
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