Review: Lucas Hnath's A DOLL'S HOUSE PART 2 at Tampa Repertory Theatre

"I own you!...that's what marriage says..."

"I'm talking about two people spending time

together trying to figure out how to be

around each other...is that a true marriage?"

"I know what the absence of marriage looks like,

and I want the opposite."

Playwright Lucas Hnath was born and raised in Orlando, Florida. Later his move to New York led him to study Pre-Med, but soon he changed his major to Dramatic Writing, where he studied at Tisch School for the Arts earning a BFA, and subsequently following an MFA. Hnath is the playwright of 10 Dramatic works. His Broadway Debut and most notably his best work A Doll's House Part 2, debuted on Broadway in April of 2017 and closed in September later that year. Commissioned by South Coast Repertory in Costa Mesa, California, Hnath's contemporary spin/sequel to the Ibsen classic starred Laurie Metcalf, Chris Cooper, Jayne Houdyshell, and Condola Rashad. Metcalf later went on to win a Tony Award for Best Performance by an Actress in a Leading Role in a Play for her portrayal of Nora Helmer. Subsequently, Hnath's work was also a nominee for Best Play at the time.

Lucas Hnath's impressively growing body of work includes his plays, Death Tax, A Public Reading of an Unproduced Screenplay about the Death of Walt Disney, Isaac's Eye, Red Speedo, The Christians, Hillary and Clinton, A Doll's House Part 2, Dana H., The Thin Place, and The Courtship of Anna Nicole Smith. Hnath's work has put him on the map as a contributing force and exceptional voice for the ever-changing forefront that is Live Theatre as we know it. Solidifying him as truly one of my favorite playwrights.

To my knowledge, only one other Theatre in Tampa Bay has previously staged a piece by Mr. Hnath. The fine folks, at Urbanite, staged a production of Isaac's Eye in their 2015 inaugural season.

Hnath's A Doll's House Part 2 picks up 15 years following the conclusion of Henrik Ibsen's classic A Doll's House. Set in 1894, the play embarks on a journey examining the rules intertwined between society and gender, and what makes relationships, and society as a whole work. The play begins with a solitary knock on the door. This door was the same door in which Nora departed some mere 15 years prior, when she left her husband Torvald, the kids, and nursemaid Anne Marie, in search of herself and the idea that life is better when you aren't held captive to the ideals of what makes a real marriage, or absence of one. Nora, having returned as a successful female novelist, is seeking dissolution or divorce from Torvald whom she assumed took care of it many years prior. You see in the 1800's it's much easier for a man to ask for a divorce, for in its time women had to prove there was a reason behind wanting a divorce, abuse, neglect, what have you.

" And once I could hear my voice,

I could think of things that I wanted

that had nothing to do with what anyone else wanted.

It's really hard to hear your own voice,

and every lie you tell

makes your voice harder to hear,

and a lot of what we do is lying.

Especially when what we want so badly

from other people

is for them to love us...."

-Nora

Tampa Repertory Theatre and Director Stephanie Gularte have assembled a top-tier group of designers and performer's alike to bring the searing piece of dramatic comedy that is A Doll's House Part 2 to life. I for one as much as everyone in the audience on opening night is humbled and excited just to bear witness to its prowess.

Director Stephanie Gularte states its best in her Director's Note in the Program:

"As we scrutinize Nora's choices, compelling questions about gender-relations and roles, freedom, intimacy, love, and marriage feel as complex today as they were nearly 150 years ago. Perhaps more so...? Today we expect quality and we understand the value of individual autonomy and dignity. Yet, we still struggle to understand one another, to see the world through one another's eyes, to feel seen, to trust that we will be loved for who we are. We unconciously play out roles in the pursuit of fulfilling expectations that will deem us lovable when what we want most is what Nora described to Torvald in Ibsen's original work, a relationship with another person that is "true."

So beautifully stated.

As Nora Helmer, Producing Artistic Director Emilia Sargent is a marvel. Commanding the stage from first knock to final slam, her Nora grabs you by the jugular and doesn't let go until her final exit. An exceptional Artist of her craft, Emilia presents Nora as a woman who has reclaimed herself and her time while she was away. She's strong-willed in every moment to moment and there is a clear character arc that presents itself from beginning to end. Even just the simple movement of a chair, the awkward posing before Torvald's entrance, and the banging of her head on the desk in frustration is clearly concise and thought out. Her Nora is never forced, but arriving precisly as she means to, and she is all business and man does she have something to say.

As Torvald, L. Peter Callender is exquisite. Having last witnessed his prowess during the virtual screening of Satchmo at the Waldorf, his presence onstage in person is unmatched. He rivals toe to toe with Nora in every back and forth. He is stoic and staunch, no-nonsense, and yet you feel the wounded parts of him as well.

Anne Marie played by the wonderful Karla Hartley acts as the comedic relief at times. Yet she also proves to be the glue holding this entire fiasco together. Karla's performances are always fresh and this is no exception, she takes no prisoners when she needs to and has a heart of gold underneath an otherwise rough exterior.

As Emmy, Bria Matthews is wonderful. She is clever and concise in all moments. Her scene with Nora is exceptional taking on a new meaning to Mother/Daughter conversation. What intrigues me most about her performance is her ability to not play the wounded child card. After not having seen her mother for 15 years, you would think there would be some wounds left unhealed, however, in her hardest of hearts, she is unfaltered and real in her feelings. She has grown up and is not afraid to show it. A stunning turn from this young actress.

Stephanie Gularte directs with the finest of fortitude and the smoothest of hands. Her first foray back into the rehearsal room since pre-Covid has deemed a masterpiece. The moments between Torvald and Nora are as visceral and painstakingly real as our own relationships. At times I wish there were mirrors around to show us what our true reactions were to the events playing out. Its a searing and hard-hitting look into gender- roles and what defines relationships and societys driven by a dominating worldview. The ache I felt in the distance between the two when they seemed miles apart from each other, in a space mere feet from one another was unmatched. With mouth agape I couldn't help but self-actualize my own reality. I felt like a fly on the wall in certain moments, and for me, the aching pull, the uncertainty of the future kept me on the edge of my seat. Brava to the company and the Director for creating such a visceral and endearing performance, that is still affecting me even the next day.

On the technical side of the spectrum, Steven K. Mitchell's vast set design complete with an expansive view inside of a "Doll's House," made for an almost uncomfortable reality we have all found ourselves in at one point or another. Complete with the massive walls, and herringbone design on the floor, it gave the look and feel of 1800's Norway, while also bring in a contemporary aesthetic. Exceptional lighting design by Joseph Oshry helped conceptualize the world in which these characters resided. It always interest me when even the lighting seems to play a character all its own, adding its own interest into the world of the story. A Master of his craft, Joe should be exceptionally proud of the world he rendered. Trish Donnelly's costumes were exquisite down to the last stitch. From Nora's vibrant purple dress, to the beautiful ensemble in which Emmy wore, not a skeen was unplaced, allowing the audience to be transported to the 1800's in a contemporary mindest, beautiful and stunning work. Sound Design by Matt Cowley and Original Score by Igor Santos worked well to help blend the moments of the story together, and create a complete and well-rounded world.

Tampa Repertory Theatre and Stageworks Theatre invite you to "Come Back Together" with their 2022/2023 Season Opener, Lucas Hnath's A Doll's House Part 2. This is one compelling, visceral, and searing masterpiece, you do not want to miss. On-stage through November 20th, 2022, at Stageworks Theatre in the Channelside District. Tickets can be purchased by visiting www.tamparep.org. Trust me when I tell you, you do not want to miss what Nora has to say!

"A wound had to be allowed to heal."

"You know it's not right to hold me to something I do not want to be held to"

Photo Credit: Ned Averill-Snell

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