Ibsen’s most well known play sent shockwaves through the audience when it was first performed in late 19th century Denmark since respectable women do not act the way his lead character does. Canadian Stage‘s A Doll’s House, adapted by Amy Herzog and directed by Brendan Healy, opened at Bluma Appel Theatre to standing ovations.
It’s Christmas Eve, and housewife, Nora (Hailey Gillis) has just come home from doing some Christmas shopping. Her newly-appointed bank manager husband Torvald (Gray Powell) chastises his “little bird” for her frivolous spending, although Nora reminds her husband that they now have more money to spend. The doorbell rings (as it will several times during the play – I love sound designer Deanna H. Choi’s glorious chimes!) and Nora’s friend Kristine (Laura Condlln) arrives. Unemployed, Kristine asks Nora if she would ask her husband to get her a position at the bank.
Kristine happens to remark that Nora is like a child. In order to prove Kristine wrong, Nora says she received money from an admirer to use towards a vacation for her ailing husband. It is a lie, however, as Nora borrowed the money from an unscrupulous bank employee. This is late 19th century Norway when women were forbidden from conducting financial affairs so Nora must keep this fact a secret from everyone.
It’s a busy Christmas Eve, as another visitor, Krogstad (Jamie Robinson) stops by. Torvald meets with Krogstad in his study and advises him he will be fired. On his way out, Torvald tells Nora that he knows she forged her father’s signature on the loan she received and that if she doesn’t get her husband to reinstate his position, he will reveal the truth…and that’s all I’ll share about the plot!
Ibsen was his country’s feminist, perhaps not intentionally, who advocated for the autonomy and free will of women. He also frequently skewers the hypocrisy of society: several of his characters attempt to maintain the guise of respectability while indulging in baser activities such as sleeping with prostitutes, taking illegal drugs, or committing fraud. For example, Dr. Rank is said to be suffering from a spinal disease, but he, in fact, has a case of venereal disease inherited at birth from his father.
Like many of Ibsen’s female characters, Nora is trapped by society’s requirement that dignified women be married with children, leaving more important affairs to their husbands. She refers to herself as a doll and indeed, she is treated as such by Torvald. Her friendship with Dr. Rank allows for a more honest relationship since he seems to understand her more and takes her more seriously.
Gillian Gallow’s set comprised of ornate drapes, sturdy wooden tables and chairs and an imposing chandelier, creates an oppressive atmosphere. The only light or escape for Nora from this heavy environment emanates from a casement window with snowflakes fluttering down.
In a play with roles that actors can really sink their teeth into, Gray Powell is a standout! He is blessed not only with a booming voice, but with a dominant stage presence which he puts to good use in portraying Torvald. I particularly enjoyed seeing his transformation from the staid, patronizing banker to the drunk and ribald husband.
David Collins, who also projects his voice admirably, is delightful as the overly friendly Dr. Rank.
I wish Anne-Marie had a larger part so that we could have seen more of Elizabeth Saunders, who takes command of her role as the maid with authority and stern kindness.
Hailey Gillis brings the right combination of vulnerability, playfulness and submissiveness to Nora. She makes it easy to see how Torvald and other men are captivated by her.
I’m curious about Healy’s direction of the final scene between Nora and Torvald. I question whether Torvald who – up until this point has been a control freak – would have behaved so passively when Nora told him of her plans. But that is a minor point.
Beautifully staged with a cast at the top of its game, Canadian Stage’s A Doll’s House is landmark theatre.
Run time is 110 minutes with no intermission.
A Doll’s House at Canadian Stage St. Lawrence Centre is being performed until February 1, 2026 at Bluma Appel Theatre. Tickets are $35, $64, $125, and can be purchased online or at the Box Office. St. Lawrence Centre for the Arts is located at 27 Front Street East, Toronto M5E 1B4.
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