Henrik Ibsen's A Doll's House, in a new version by Frank McGuinness, won a Broadway Tony Award for Best Revival in 1997, as well as the Outer Critics' Circle Award. The Lyric Theatre's current production fully exploits the dramatic opportunities offered by the play and by this version of it.
It is fair to opine that the award-winning elements are still those provided by Ibsen, with Mr McGuinness's contribution a sensibly muted one. Some of his words have, indeed, an inappropriate ring to them; "in your neck of the woods . . ."; "there I go rabbiting on . . . "; "when a woman dumps a man" - these are phrases that fit uneasily into the period, still the late 19th century, in which the production is lodged. But he is not generally intrusive, content to render homage to his illustrious forebear.
The story-theme comes across as strongly as ever. Nora, the Doll-wife, is her husband Torvald's most prized possession, meeting his manly condescensions with a coquettish subservience. She has a secret; once, to save his life, she borrowed money under false pretences. Now the moneylender is back, threatening to bring her life crashing around her; and her husband is a threat rather than a support.
The final scene, in which Nora confronts all her demons, is riveting. Tina Kellegher begins her performance with an almost irritating set of girlish mannerisms, but gradually exposes the completely insecure person beneath. When the moment of bitter truth arrives, and the slave chooses emancipation, her quiet intensity hushes the auditorium. It is a deserved tribute to a fine interpretation.
She is enormously well supported by her fellow-performers. Eoin McCarthy is the stalwart, righteous Torvald, a fallen idol broken at last. Lalor Roddy is again deeply in character as the tragic Dr Rank. David Annen strikes the right disillusioned notes as the moneylender Krogstad, and Paula McFetridge is an excellent Mrs Linde, seeing beneath the surface of Nora's apparently happy marriage.
Simon Magill directs with all the right nuances, hitting the final climax on the nail. Stuart Marshall's design is elegant, John Riddell's lighting plot-sensitive and Heather Longs's costume designs appropriate. In sum, a production to remember.
Runs until May 20th. To book phone 048-90381081
