Hair footlight club12/19/2023 Original Music (Nora’s Song) – Jeff Kimball Lighting Design – Paul O’Shaughnessy and Olivia Sederlund Props Design and Set Dressing – David Alger I hope you enjoy this production as much as I loved adapting and directing it. Our production explores the myriad ways in which Nora becomes seen by her family and her community. I will be seen, I will be heard, I will be recognized. While there is no archival evidence to support this claim, I interpret Lord’s choice of “The” as a direct address to her readers. Women doing “men’s work” weren’t exactly given a seat at the table in the 1890’s. She was a British writer and activist who lived her life on the periphery because of her career. Henrietta Frances Lord, translator of this version of the play and one of the few women who translated Ibsen at all chose “The” with intention. For Nora, this isn’t just about escaping Torvald’s misogyny and picking up after the kids. As a director, however, I was more interested in Ibsen’s claim that his work broadly is about the individual versus society. Many interpretations of Ibsen cite the moment when Nora leaves as the ultimate feminist coup she stands up for herself, finally, and shuts the door on her marriage. Nora’s life is constrained by the walls of not just her home, but also by the role she’s meant to play in the life of her children, husband, friends, and community. The Doll’s House is about a woman who must be seen. It’s used to describe something specific, something known, something recognized. It’s used when speaking or writing about something generally – not specific, not special. First, a little grammar: “A” is an indefinite article. Is it “A” Doll’s House or “The” Doll’s House?” I’ve been asked that numerous times as I have worked on this play, and since “The” is on all of our posters I guess I should provide the answer to why I have adamantly argued for “The” in our production.
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