Beck’s production, under the focused direction of Don Carrier, is a model of the right play, the right cast and the right presentation. It is a perfect model of the “thinking person’s play.” Though filled with ironic humor, it is the drama of the script that makes it work so well.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
To see a full review of this show, read Howard Gollop's review here.
Chris Howey
"A Doll's House, Part 2 is engrossing and thought-provoking, enhanced by four precise and telling performances. And while serious Ibsen devotees may be distressed by the affrontery of playwright Hnath messing with these iconic characters, for the rest of us this play casts an intriguing new light on that "doll's house" Ibsen created."
To see a full review of this show, read Chris Howey's Review here.
Laura Kennelly
BOTTOM LINE: If you’ve ever wondered what happened after Nora left her home — the house where she felt like a doll in a doll’s house — this play has some answers. Hnath’s Nora reminds me of Barbie in the recent film. And like Barbie, it takes Nora a while to find the answers. But this version, 90 minutes with no intermission, lacks the humor that saved Miz Barbie’s adventure from being yet another lecture about what one should do based on one’s socially-determined role.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Dr. Yuko Kurahashi
Carrier’s direction is very “physical” and intellectual, asking the performers to cover the entire stage in each scene. Fully utilizing the four chairs as each character’s “fort,” Carrier expresses the four people’s emotions and thoughts by changing the spot and angle of each chair as if they have their own lives and memories.
To see a full review of this show, read Yuko's posts here.
