Chastain stars in A DOLL'S HOUSE On Broadway - Reviews & News Thread — Page 7

PipingHotPiccolo said: "WiCkEDrOcKS said: "The fact that so much of the audience misses that final moment is absolutely absurd and infuriating.

I tend to enjoy Jamie Lloyd generally, but what the hell? How are you going to stage a moment like that out of the line of sight for 1/3 of the audience?! Wild."

Thank you. Im somewhat surprised at how willingly these boards have accepted this lazy insult."

Well, what shall you have us do - run down to the Hudson with picket signs and demand they renovate the rear of the theater so it's more centrally positioned?

Somehow I've managed to make it well into adulthood without ever seeing a production of this play, so I don't know what I might have missed with this minimalist staging. Had a great seat in Dress Circle G108, smack in the center with a large pole to my right that allowed me space for storage on the floor next to my seat and ample legroom.

But I loved it. A lot. I found the cast uniformly excellent. Chastain sounded like she might be a bit under the weather, but it never affected her performance. It did take me a split second to quit thinking of Moayed in his role on Succession given how distinctive his voice is.

I could have done without such heavy-handed music while waiting for the show to begin. I was surprised at how much laughter there was from the audience at the climactic moment.

But other than that, all I wanted was for an extended intermission followed by the same cast performing A Doll's House, Part 2 (which I have seen and loved). And then to see Laurie Metcalf do both parts tomorrow.

Updated On: 3/8/23 at 04:27 PM

This was a mixed bag for me. Jessica Chastain is absolutely excellent in the role and will get some well-deserved praise for it.

But the direction seemed like it kept me at arms length the entire time. It made it difficult to connect emotionally with so much of the action. The stilted staging doesn't help. And I think people laugh at the ending because it lacks the power of the original where you see a woman walk out with her bags, and instead is simply a "oh wow look she's on the street" reaction...and then whisks back into the theatre moments later (seriously, Chastain must absolutely sprint). They really need to give it several many beats with Torvald sitting there in shock after Nora's exit to give the action more weight. But this would require the direction to lean into the emotion of the play, which it doesn't. Also: why project the year of the play on stage when the dialogue has been redone to be more modern, nothing sets it in the time period, and then Nora literally ends up in present day at the end? If you're going to update it to now, just do it. And get rid of the timestamp at the top.

I also am finding it harder and harder to get excited about the non-stop parade of hyper minimalist revivals we are getting. Whenever I walk into the theater and see the exposed back of the stage as their production design "concept," I just sort of roll my eyes at this point and think "again?? People are spending hundreds of dollars for this, just build a set."

The sound design really is fantastic. I felt like I was seated on stage next to the actors it was so good.

Question for those who have seen this (forgive me if it’s been asked and answered), but if I was looking at far side seats of the orchestra in Row N (either All the way to the left or right of the house), which would be a better view to see the show as a whole, and the ending? With a discount these are only $80 some days, so I’m weary and wanted to ask before buying.

It's the least effective Jamie Lloyd production I've seen (mostly due to the new text), but still very much worth seeing for all the other elements. I do think it's thrilling how we get to experience Nora's world almost exclusively through her. Of course it's not the only way to do A Doll's House, but how lucky to get this unique, audacious, not-quite-but-almost successful version of this oft-produced play. And yes, Chastain is mesmerizing.

I was in the center front half of the Orch, though, and would guess the returns diminish rapidly the further away or to the left one sits. Salonga and Llana sat right in front of me, and I'm happy to report they both looked fabulous and did not sing along with the score.

He also didn't make an impression bec. he whispered his lines the whole time.



Voter said: "Went to the matinee on March 8.

Oak (from Hamilton) was under-used in this production and hoped he more lines because he was well cast as the lawyer.

The play started at 2:08pm and ended at 3:55pm"

WiCkEDrOcKS said: "gleek4114 said: "Question for those who have seen this (forgive me if it’s been asked and answered), but if I was looking at far side seats of the orchestra in Row N (either All the way to the left or right of the house), which would be a better view to see the show as a whole, and the ending? With a discount these are only $80 some days, so I’m weary and wanted to ask before buying."

You're going to want to sit house right.

"

Thank you! Ticket booked!

veronicamae said: "PipingHotPiccolo said: "WiCkEDrOcKS said: "The fact that so much of the audience misses that final moment is absolutely absurd and infuriating.

I tend to enjoy Jamie Lloyd generally, but what the hell? How are you going to stage a moment like that out of the line of sight for 1/3 of the audience?! Wild."

Thank you. Im somewhat surprised at how willingly these boards have accepted this lazy insult."

Well, what shall you have us do - run down to the Hudson with picket signs and demand they renovate the rear of the theater so it's more centrally positioned?

"

Yeah, I don't think I've suggested anyone riot over this, and I think you know that. When I pointed out how outrageous a stunt it is, I was told to calm down. The outrage and revulsion at Beanie Feldstein not singing up to par is the sorta response I'd expect from staging a major revival with a famous, shocking ending staged so that ONE THIRD OF THE AUDIENCE MISSES IT. Without warning. Or discount. Its despicable.

Protest away.

While it's a Critic's Pick, Jesse's review seems a little muted?

To me, the Green review is appropriately validating without the sort of intellectual hyperbole that often oversells bold interpretations. He’s far more than merely respectful of the daring; he sees it as transformative, yet with drawbacks. Fair yet decidedly affirmative. I agrees with all points.

Those are really good reviews and really set Chastain to not only secura a nomination, but maybe for a win.

We haven’t seen Comer yet, but Jessica will put up a good fight.