Pagan Urich and Caitlin Durkin (Photo by Michael Hardy Photography)
Reviewed by Madison Mellon
Long Beach Playhouse Theatres
Through August 15
RECOMMENDED
Pagan Urich and Sean Plunkett (Photo by Michael Hardy Photography)
Fifteen years after Nora slams the door on her husband and children, Lucas Hnath’s A Doll’s House, Part 2 envisions what might have happened if she were forced to come back. Hnath uses this uncomfortable reunion to stage a tense treatise on gender roles, autonomy, and what we owe each other — and ourselves. While the current production at the Long Beach Playhouse at times feels too safe and restrained, it nonetheless honors Hnath’s intent and the wit and complexity of his language.
What keeps Hnath’s script from feeling preachy is his even-handedness and genuine interest in each character’s perspective. While the play dives into thorny social and political issues, it doesn’t ever turn its characters into didactic mouthpieces or caricatures. Instead, it leaves room for each argument and contradiction to land. Hnath always trusts the audience to reach conclusions for themselves.
As Nora, Pagan Urich displays sharpness and vivacity while also giving weight to Nora’s moments of inner tumult as she mulls over the consequences of her decisions. Shawn Plunkett plays Torvald with empathy, finding softer elements underneath his rigid patriarchal worldview. They both have a weary chemistry that conveys the familiarity between them. The production’s standout is Caitlin Durkin as Emmy, who has the most fun with Hnath’s quick-witted dialogue. She maintains strong comic timing matching her estranged mother’s fire and determination and taking control of the scene with a glance. She injects the production with a welcome surge of energy.
There are missed opportunities, however, specifically in terms of visual and emotional boldness. The opening scenes drag on longer than necessary, with the stakes involved in Nora’s return initially feeling lower than they should (Anne Marie, played by Kelley Barton, welcomes Nora back as though she’s been on vacation rather than gone 15 years). As a result, Hnath’s contemporary and often profane dialogue feels at odds with the production’s restraint — although this improves significantly as the piece goes on.
This same issue extends to the production design (set by Greg Fritsche and costumes by Christina Bayer). The costumes are effective, particularly Nora’s daring and boldly-patterned wardrobe, but the overall visual aesthetic is too literal. The design would have benefitted from leaning into a cross between Ibsen’s world and our modern one, [one that reflects Hnath’s language and ideas]. It doesn’t quite get there.
Long Beach Playhouse’s staging is more measured than daring, but Hnath’s script is incisive, and the production still leaves the audience with the uncertainty the playwright intended.
Long Beach Playhouse, 5021 East Anaheim St., Long Beach. Opens Fri., July 18; Fri.-Sat., 8 pm, Sun., 2 pm; thru Aug. 15. www.lbplayhouse.org Runtime: two hours with a 15 minute intermission.
