Review: A DOLL’S HOUSE PART 2 Features Expressive Portrayals from a Cohesive Ensemble

Lucas Hnath’s A Dolls House Part 2, currently running at St. Louis Actors’ Studio, revisits the relationship of of Ibsen’s classic character’s Nora and Torvald 15-years after Nora left her family.

The critically acclaimed A Doll’s House Part 2, premiered on Broadway in 2017 marking Hnath’s Broadway debut. The show was nominated for eight Tony Awards including Best Play. The original production starred Laurie Metcalf in her Tony winning role as Nora, and Tony winner Jane Howdyshell as the family’s nanny Anne Marie.

In the end of Ibsen’s A Doll’s House, Nora feels caged by the construct of women’s roles in marriage. She leaves her husband and children in search of independence and self-discovery.

Hnath’s play opens with Nora’s return seeking the divorce that Torvald silently refused to grant her. She lived for a decade-and-a-half assuming her divorce was final. Once discovering she was still married to Torvald she returns with a singular focus.

Directed by Kelly Weber, A Doll’s House Part 2, stars a powerhouse acting ensemble including Julie Layton (Nora), Michael James Reed (Torvald), Teresa Doggett (Anne Marie), and Claire Coffey (Emmy). Weber’s command of the script and her intentional pacing and blocking create enthralling storytelling that builds to a fiery crescendo. Her sublime casting choices and the acting performances she inspires cultivated rich and realistic portrayals.

Layton’s strong-willed Nora returns as a powerfully independent and highly successful feminist author. She gives Nora determined voice with resolute purpose. Her scene work and dialogue with Reed, Doggett, and Coffey rings with authentic patter. She reeked of resplendent wealth in a wine colored and embellished Victorian frock created by Doggett who does double duty as actor and Costume Designer.

Doggett’s designs are period appropriate and stunningly elegant. Her choice of fabrics and her tailoring, especially for Nora and Emmy, is divine. Emmy’s poufy shouldered and ruffled shirtwaist blouse was stunning. Both Nora and Emmy’s necklines were adorned with large cameos adding to her dazzling costume detailing. Doggett recently said on Lynn Venhaus’ Poplife podcast that “the late-Victorian, early Edwardian time period is my favorite to costume.”

Doggett’s on-stage portrayal as the conflict averse nanny is as impressive as her design work. She is a talented character actor who doesn’t work as an actor often enough. It is confounding how her impressive work as Mag in last season’s Beauty Queen of Leenane didn’t garner her a St. Louis Theater Circle Award nomination, and Doggett is just as fabulous in this production. She gives the non-confrontational Anne Marie a palpable nervousness and apprehension. Anne Marie’s scripted dialogue includes a few funny zingers and Doggett’s comedic timing is precise.

Reed and Coffey finesse their dialogue, both bantering and sparring with Layton. They deliver flawless, on-the-mark portrayals. Coffey shows understandable emotional detachment to the mother who abandoned her as a toddler. Reed conveys that Torval’s connection to Nora has outlived their relationship, and the intensity in their physicality is both humorous and visceral.

When Lucas Hnath’s play premiered on Broadway the New York Times and Time Out New York called it “the best play of the season.” It’s an engaging and modern script tackling themes of feminist autonomy and self-determination. Weber’s staging is well-conceived and highly entertaining. Layton, Reed, Doggett, and Coffey all turn in expressive portrayal as a cohesive ensemble.

A Doll’s House Part 2 continues through February 22nd at The Gaslight Theater. For more information visits stlas.org or click the link below to buy tickets.