no ones ever gonna convince me that theres any inherent artistry in these stripped down, costume, prop, scenery free productions. maybe at one point there was some novelty in them but at this point, its either a tired attempt at originality or, way more likely, a way to put on an affordable production. and hey, i want big bway productions of classic pieces with top-flight casts, so if thats what it takes, so be it but why are we pretending that setting Nora in a warm, Christmasy house, or letting her and Torvald return their rings, detracts from the piece? It doesnt. The show suffers from this miming, from the funereal clothing, from bumping the scenes into one another so awkwardly. (Having the kids be off-stage voices, by contrast, is the kinda money/time saving trick that doesnt hurt the piece at all).
So with that objection noted-- the 2 hours did fly by, because the linguistic updates were subtle but powerful, and bc this cast is just top to bottom wonderful. Michael Patrick Thornton and Oak were both fantastic- a nice reminder that Oak is a real talent, his previous nonsense notwithstanding. I know the reaction to Moayed has been tepid, if not hostile, but I thought his Torvald was fascinating, a jackass, yes but someone I couldn't really hate because its 1879
And yes Chastain is doing masterful work. I think her Nora, more than anyone else, suffers from not being allowed a set or a prop. Instead of giving her a moment to fiddle with her ring or readjust a pillow on a couch, she's forced to ramble to herself like she's under interrogation. But she pulls it off! Her Nora strikes me as more fragile/hysterical than most, and maybe its a modern spin that such fragility is not meant to undermine her ultimate bravery? But from her first line to her exit, I thought she was so keyed into her character, so lost in the role, it was a sight to behold. (And there's something doll-like about her beauty, too, which helps a ton here).
As for the big finish- i have to admit that it really is only the left quarter of the theater that misses it, though I still can't get over that a major production would stage such a key moment in such an obnoxious, unfair manner. I know others have reported audience laughter in response, and tonight was no exception there, which I can't understand: the audience sat in total silence, well behaved and hanging on every word, the entire evening, and then giggled at this dramatic moment? I dont get why and i found it very distracting from an otherwise tired but effective moment.
we got last minute front row balcony tickets for tonight, from a friend, and we grabbed em even though I had planned on seeing this from the orchestra later in the run. my impression is that this is *another* show this season where I think the orchestra seats aren't necessarily the best view. if i were going again id choose front mezz, but the sightlines from the balcony are great, and until the end, the whole show is really performed center stage. and the sound is really remarkably well done. didnt feel over amplified but felt them all talking in my ear.
