Ibsen’s signature classic (From Gazette)

Ibsen’s signature classic

10:00pm Tuesday 10th November 2009

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I WOULD like to think equality between the sexes has improved slightly since Henrik Ibsen wrote A Doll’s House in 1879.

But then in my more sadistic voyeuristic moments watching the Jeremy Kyle Show, I despair that it probably hasn’t – certainly when it comes to the relationship between a husband and his wife.

Nora is Swedish director Ingmar Bergman’s own stage version of perhaps Ibsen’s most famous work.

Set in the 19th century, the play is three days in the life of the title character, a dutiful daughter, wife and mother who finally realises what her existence in life has been up until then.

As with most dawning realisations, there is a catalyst and in A Doll’s House, it is Nora’s husband, Torvald, finding out she has forged a signature.

It matters not it was to raise money that eventually saved his life, nor that through her own selfless initiative she almost pays the money back. No, Torveld’s only concern is how it will effect him.

It’s a story that probably resonates in more homes than we would hope and perhaps that's why Bergman felt it was ripe for his 1981 adaptation.

Shame the Mercury, well known for its own daring adaptations, did not take the piece further still by modernising it for a 2009 audience. That said it’s still a very good production with Kate Copeland particularly excellent as Nora.

NEIL D’ARCY-JONES

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