The biggest red flag is Julian Sands. I've been leery of anything he's in since 1987.
By setting A Doll House now, thereby minimizing the groundbreaking drama of its climax, the deeper stuff of the play might have to come through (if it can be well executed): the extreme challenges any two people have in accepting each other for who they really are, rather than insisting on the partners they expect each other to be. Nothing fresh or new in that idea, either. What makes A Doll's House still work is the understanding that the period itself is the sole catalyst for any sense of drama or tension in the story. If there was anything to be mined in a woman's lack of position, voice, identity or power in a modern-day marriage, it was most recently napalmed by Kim Kardashian. I can't think of any response to Nora's dilemma today that wouldn't result in somethin akin to, "Why doesn't the stupid bitch just dump his ass?"
Unless the underlying goal is to pilot the series The Real Housewives of Oslo.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian