Nora is the perfect wife and mother. She is dutiful, beautiful and everything is always in its right place. But when a secret from her past comes back to haunt her, her life rapidly unravels. Over the course of three days, Nora must fight to protect herself and her family or risk losing everything.
Ibsen’s brutal portrayal of womanhood caused outrage when it was first performed in 1879. Originally produced at Citizens Theatre, this bold new production by one of Scotland’s most exciting playwrights reframes the drama in three different time periods. The fight for women’s suffrage, the swinging sixties and modern day intertwine in this urgent, poetic play that asks how far have we really come in the past 100 years?
Ibsen diced, sliced and reinvented with poetic precision
This reimagining - regardless of its new twist - doesn't feel more exciting than the original
An admirable piece of work, one delivered with full-blooded conviction – but which never fully coalesces
Clever, pointed riff on Ibsen has mixed results
Insightful if sometimes a little clumsy
Poetic, ambitious reimagining of Ibsen's play exploring changes in women's enfranchisement across a hundred-year period
Bold Ibsen reworking in which theory and practice don't quite mesh
Stef Smith takes the heart of Ibsen’s once provocative play and gives it a jump-start
Conceptually there’s a lot of promise
An intense, ambitious survey of women’s shifting roles, which amplifies each step in Ibsen’s elegantly crafted story, as though Nora’s stamping through a cathedral in Doc Martens
Stef Smith’s smart three-Nora Ibsen update spans 100 years and cleverly contrasting worlds of pain in this slick first revival
A feeling of stasis pervades the form as well as the dialogue