From the Director
A Doll’s House, first performed in 1879, was hailed as the first feminist play and
heralded the birth of realistic dialogue in theatre. Out went the sentimental
romanticism of the late 19th century, and in came the radical realism of “Ibsenism.”
The subject matter of a failing marriage coupled with the strong willed heroine
Nora was considered a step too far and shocked audiences of the day, there were
even calls for a different ending to the play.
The furore which the play caused twenty years before the formation of the
suffragette movement can now only be imagined by modern day audiences. It is
perhaps easier to think of Ibsen as a founding father who lit the flame of realistic
and everyday dialogue in theatre. This purposeful shocking and unsettling of
audiences can be seen still burning in the eyes of John Osborne‟s angry young man
in Look Back in Anger (1956) right through to present day playwrights such as
Alan Ayckbourn and Mike Leigh who continue to fan the flames by wilfully
peeling back the flimsy social facades of the middle classes to often great theatrical
effect.
In terms of construct, the play is a standard three acts, but was anything but
standard in its day in having a woman as the main protagonist. Such is the
complexity of Nora‟s character it is hard to believe that it was actually written by a
man. In terms of importance the character of Nora ranks alongside the greatest
literary creations of its era and most readily recalls the granite strength of Chris
Guthrie in Sunset Song by Lewis Grassic Gibbon, another enduring literary heroine
interestingly also written by a man.
I was therefore understandably thrilled to be asked by the club to direct such a
landmark play, and have been privileged to work with such a talented cast and
crew, without whom tonight‟s production would not have been possible. I
personally thank each and every one of you for your dedication and sheer hard graft
over the last few months. It has been a long bumpy road, but ultimately a fruitful
one!
It is hard indeed to think of a more challenging female lead role than that of Nora
Helmer. I was thus more than fortunate to uncover an Ibsenite in our very midst
with the drive and enthusiasm to undertake what may actually be the most
demanding female lead role in theatre.
On a more personal note the short poem which you will hear prior to the play
commencing was written over a year ago whilst considering a failed relationship. I
did not write it with the play in mind, but upon rereading it this spring came to the
conclusion that it was just too fitting to omit. Perhaps at the point of writing it I too
had briefly held the still flaming baton of Ibsenism.....
Ronald J. Stevenson