Anaccountoftheproductionof ADollsHouse byHenrikIbsen inMarch2007 withphotographsbyDavidSimmons
IllustrationofascenefromHenrikIbsen'sADoll'sHouse,depictingNoratellingTorvaldthatshewantstoleavehim
EastLaneDramaticSocietywasestablishedin1936,performinginlocalschoolandchurchhalls. TheyleasedsomelandandatennispavilionfromBrentCouncilanddevelopedtheirown premisestoincludea75-seattheatrein1989,becomingEastLaneTheatreClubshortly afterwards.Furtherdevelopmentsprovidednewtoiletfacilities,costumeandsetstorage.East LaneTheatreClubbecameaCharityinApril2019andhascontinuedtoprovideopen membershiptothepeopleofBrent.
The2006-2007seasonwasEastLane’s70thanniversaryandoneoftheproductionswasIbsen’s ADoll’sHouse,whichhadfirstbeenputonbytheclubin19xx.
IhadbeentakingphotographsofEastLane’sproductionsforacoupleofyears.Itinvolvedsome constraints.Nophotographyataliveperformanceisallowedtoavoiddisturbingtheaudience, soallthephotosoftheplayitselfhadtobetakenatrehearsals.Noflashwasallowedtoavoid disturbingtheactorssothestagelightingwasusedbutthelightlevelismuchlowerthan normallighting(That’swhytheaudiencesitsindarkness.)soexposurestendtobelongerthan normal,resultinginblurredimageswhenactorsmoved–Iwasnotallowedtoaskforasceneto bepausedforaphoto..Also,stagelightingiscolouredandthecolourisvariedfordramatic effectbutthiscanlookweirdinaphotosoimagesmayhavetobeeditedtorestoreamore normaleffect.ForADoll’sHouseIalsophotographedtheconstructionandpaintingoftheset anditsdismantling.
AtthetimeIwasinthemiddleofadegreecourseleadingtoaBAinPhotographicArtsandIhad theideaofmakingabookofthisproductionasasubmissionforthecourseandfortherecords ofEastLane.(TheproposalcanbeseeninAddenda1.)Intheevent,itprovedimpossibletofititin withothercourseprojectsandtheproposalwaswithdrawnfrommycoursesubmissions.
However,thephotographshadbeentakenandtheinterviewsconductedandtheylaydormant onmycomputer.Thedirector,LindaHampsonchidedmefromtimetotimebutitwasnotuntil theendof2022thatImadetheeffortandthebookwasfinallyassembled.Thisistheresult.
IshouldliketopaytributetothewholecompanyinvolvedinADoll’sHouse,whoworkedsohard toputtogethertheplay,buildingthestageset,acquiringfurniture,puttingtogethersoundand lighting,obtainingandalteringcostumesandwigsandrehearsingforweeks.Ontopofthis,they sparedtimetobeinterviewedaboutthepartstheyplayedandtheirotherroles.Lindahas contributedasectionabouthervisionandherroleasdirector.Ultimately,itwashertireless visionthatcreatedthisproductionandmadeitsuchasuccess.
‘EastLaneTheatreClub’isabitofamouthfulandisusuallyabbreviatedto‘ELTC’or‘ELT’.Inthis bookIhavestandardisedon‘EastLane’toavoidtheconstantuseofacronyms.
DavidSimmonsNovember2022
Writtenin1879byNorwegianplaywrightHenrikIbsen,ADoll'sHouse isathree-actplayabout amiddleclasshousewifeinthe1870swhobecomesdisillusionedanddissatisfiedwithher condescendinghusband.IttakesplaceonChristmasEveandChristmasDayinthewellfurnishedlivingroomofNoraandTorvaldHelmer.
Theplay’spremierewasattheRoyalTheatreinCopenhagenon21December1879, Itconcernsthefateofamarriedwoman,whoatthetimeinNorwaylackedreasonable opportunitiesforself-fulfilmentinamale-dominatedworld,despitethefactthatIbsendeniedit washisintenttowriteafeministplay.ADoll'sHousequestionsthetraditionalrolesofmenand womenin19th-centurymarriage.Tomany19th-centuryEuropeans,thiswasscandalous.The covenantofmarriagewasconsideredholy,andtoportrayitasIbsendidwascontroversial.[ However,theIrishplaywrightGeorgeBernardShawfoundIbsen'swillingnesstoexaminesociety withoutprejudiceexhilarating.Itwasagreatsensationatthetime,andcauseda‘stormof outragedcontroversy’thatwentbeyondthetheatretotheworldofnewspapersandsociety.[ ADoll’sHouse isanexampleofrealistdrama,inwhichthecharactersinteractbytalkingina waythatcloselyapproximatesreallifeconversations.Accordingtoalocalcriticwhoreviewed thepremiereinCopenhagenin1879,ADoll’sHouse had“Notasingledeclamatoryphrase,no highdramatics,nodropofblood,notevenatear.”
HenrikJohanIbsen, born20March1828,died 23May1906wasa Norwegianplaywrightand theatredirector.Asoneof thefoundersof modernismintheatre, Ibsenisoftenreferredto as"thefatherofrealism" andoneofthemost influentialplaywrightsof histime.Ibsenisthemost frequentlyperformed dramatistintheworld afterShakespeare,and ADoll'sHouse wassaidtobetheworld'smostperformed playin2006,thecentenaryofitsfirstperformance. SeveralofIbsen’slaterdramaswereconsideredscandaloustomanyofhisera, whenEuropeantheatrewasexpectedtomodelstrictmoralsoffamilylifeand propriety.Ibsen'slaterworkexaminedtherealitiesthatlaybehindthefaçades, revealingmuchthatwasdisquietingtoanumberofhiscontemporaries. (Wikipedia).
Eachmemberofthecompanywasinterviewedabouttheirapproachtoandexperienceoftheir role.Anumberofquestionswereusedtofocusthediscussion.
Formembersofthecast: Howdoyouseetherole?Hasitchangedsinceyoufirstreadtheplay? Whathasinfluencedit?
Howmuchhaveyouputintoitofyourself?
Whathascomeoutofthedirectionforyou?
Whatparticulardifficultieshaveyouexperienced?
Whataboutyourinteractionswithyourcounterparts,eg,thedirector?
Yourcommentsonthepracticalities–makeup,costume,wigetc
Whatdidyouhavetodo fortheAudition,howdidyoufeelaboutit? Wasthisthepartyoureallywanted;ifnot,whatpartwouldyouhavepreferred?
Forbackstagemembers: Doyouactaswell? Whatdoyouenjoyaboutyourcontribution?WhatdoyougetoutofbeingamemberofEast Lane?
Forothers,asrelevant:
JudithMeredith–costume;: Dowehaveitinourwardrobe?
Couldanexistingitembealtered? Coulditbefoundinacharityshop?
BrianHourihane-assistantstagemanager: budget,agree,monitor,assistantstagemanager
ClairehadstudiedADoll’sHousesuperficiallywhenshewas studyingforherdegreebutshehadn’tactuallythoughtabout thepartofNorainparticularsoshecametotheauditionwith anopenmind.Shefeltthatthiswasgoodbecauseshecould ‘dowhatcamenaturally.’Shedidn’treallylikethecharacterat firstandoneofherconcernswasthatthismightresultinthe audiencenotbeingabletofeelsympathyforher.Shetalkedthis throughwithLindaandtheyagreedthatNorawaschildishandmanipulativebutshealsohad strongandiconiccharacteristicsandwantedthebest.Shedidwhatshethoughtwasrightand reactedtowhatshefeltwastheessentialtruthtothesituation-astrongandpositivecharacter.
Inthefinalmomentsoftheplay,ClairefoundthepointwhenNoraactuallyleavesquitehardto do.“Itisaveryemotionalactionandcomesafteraplaythatisemotionalfor95percentofthe time.Youhadlearnedthelines,youknewwhatemotionsyouwereplayingbuttheinvolvement hadtobethereandifyoudidn’tfeelit,itwouldnotbeabelievableperformance.”
Therehearsalswereveryenjoyable.ClairefoundthatLinda’swayofrehearsingwasvery differentfromwhatshehadmetbeforeandbygettingtoknowNorabettershelearnedtolike andlovethingsaboutthecharacter.“TheaudiencehastobelievethatyouareNoraonthe stage;iftheydo,thatisthebestthingandyouhaveachievedyourgoal.”
Claireenjoyedplayingthepartenormously.Sheenjoyedtherangeofemotionsandfelthatit wasadifferentrolefromthelighterrolesshenormallyplays-shelikedplayingadarker character.Thevisualimpactofthecharacterwasimportantandmadeherthinkaboutthe character.Shefeltpossessedbytheplaywhichwasveryintenseforher ClairepreferredAct3becauseinAct1Noraismostchildishandimmaturebutthisisironic becausesheishidingadarksecretunderthegaietyandhastakengrown-upstepstohelpher husband.Act3hassomuchmoredramainitandthisiswhatshereallyenjoyed.
ThescenewithDrRankisveryintenseandsheenjoyedplayingthiswithBarry;also,her interactionwithKristine,playedbyHilary,whoshehasworkedwithbefore,wentverywell. Generallyitwasagreatpleasuretoworkwithallthemembersofthecast.Shelovedthe opportunitytodo‘herlittledance’,thetarantella.
Thecostumesneededtimetogetusedtothem.Thematerialoftheblueoutfitwasnotverynice towearanditwasnotflattering.Thecreamonewaslovelyandtheredonewasverydramatic; itparticularlyemphasisedthesaucinessofthetarantella.
Learningthepartwasfairlyonerous.Shehadtotraveltwohoursdailyonthetubeandthatis howshewasabletoputthetimein.
DesmondGaynorplaysTorvaldwithhisnativeIrishaccent whichhe,himself,doesn’tnotice,butwhichisobvioustoothers. TheDublinliltisoverlaidalittlewithAmerican,influencedby peoplehehasworkedwith.Atfirstheworriedthatitwouldbe obtrusivebut,afterathefirstcoupleofminutes,itisrapidly acceptedbytheaudiencewhostopbeingawareofit.Hisconcession toactinginsouthernEnglandistomodifytheflat‘a’sinwordssuchas‘dance’or‘can’t’. Heseesthepartasa‘bigrole’-thebiggesthehasplayedtodatesoitwassomethingofa challengetolearnallthelines.Hewasn’treallyworriedaboutbeingabletoactit,feelingthatthis wouldsortitselfoutwhenthetimecame.ItisinterestingthatTorvaldisinterestedonlyinhimself andDesmondbecamesoself-absorbedinplayingthecharacterthathedidnotconsciousy noticehowotherthecharactersweredeveloping.
Desmondisanintuitiveactoranddoesnotreallytakeananalyticalviewofthepartbuthe foundithelpfultobeaskedbythedirectortogoawayandansweranumberofquestionsabout thecharacter’smotivationsandsoon.However,hedidnotspendalotoftimemeditatingon thepart.Whilsthewillstartoffbyusinghisowninterpretationhefeelsthathemustfitthe director’sconceptionofthepart.Inpractice,themaininputsfromthedirectorwereto exaggerateTorvald’spompousnessfortheatricalemphasis,toletgoandreallylosehistemper insomescenesratherthanjustappearingirritated,tomakeapointofsmilingandbeinghappy intheearlyscenesandtoslapthetableforemphasis.
InthesceneswhereTorvaldembraceshiswife,Lindaencouragedhimtoappearmoresexyand intimate.Hiswoodenstanceelsewherewastheresultofdeliberatelyeliminatingallgestures withoutaspecificpurposeemphasisingthecontrolledinward-lookingcharacterofthisselfish man.
Thepartrequiresawigwhichpresentedoneortwominorproblems.Afteranover-copious applicationofspiritgumthatglistenedunderthelights,Desmonddevelopedconfidencethatit wouldnotfalloffandrestrictedthegumtokeepingtheedgesneatlytackeddown.Inthefinal scenewhenhesitsdespairingatNora’sdeparturewithheadinhands,hehadtomakesurethat itwasreallyface-in-handstoavoiddislodgingthewig.Otherpartsofthecostumeneededtobe controlled:thesmokingjacketneededsafetypinstosecureitandkeepingthetailsofthetailcoatoutofthewaywhensittingdownrequiredadeliberateeffort.AnneGerrard(Anne-Marie) wasabletoassistwiththerapidcostumechangeinAct2asshewasnotonstage.
HilaryfirstsawADoll’sHouseabout30yearsagobutsaysthat theonlycharacterthatstuckinthemindwasNoraandshe particularlyrememberedthetarantellascene.Overallthere wasanimpressionofaveryimportantplayandshewaskeen tobeintheEastLaneproduction.
KristinewasthecharacterthatHilaryreallywanted–itwasnot anenormouspartanditsuitedherage.Shesaidthatshe couldn’thavecontemplatedNora.Beforegoingtoaudition,Hilary researchedtheplayontheinternetandreadseveralarticlesand essays.InmanywaysshefoundKristineaperplexingpart–puzzlingouttherealmotivations, decidingthenatureoftherelationshipwithNoraandwhy,whenshehaditinherpowertomake thingsalrightforNorashedidnot.
TherehearsalprocessatEastLanewasquitedifferentfromrehearsalsthatshehad encounteredelsewhereandshefounditveryenjoyable.Itsuitedherloveofliterarycriticismand lookingatmotivationandcharacterisation.Lindagaveeveryone‘homework’toresearchand writedowndifferentaspectsoftheircharacter–withpagereferences.ThenHilarywentonto lookatessaysonthebookthatsheobtainedontheinternet.Itbecameobviousthatonecould findalmostanyinterpretationforcharacters–forinstance,Noracouldbeaniconforfeminism waybeforehertimeorjustasillyladywholostcontrolandpanicked.Theaspectofrehearsals thatwas,forHilary,superfluouswasthewarm-upsbuttheydidsetthetoneforwhatwasto come.
Thecorrectpronunciationofthename’Krogstad’wasnoknown anditwasimportantthateveryonepronounceditinthesame way.Itwasthereforedecidedtostandardiseonone pronunciation:‘Krogshtat’.
LaurencerealisedfromthebeginningthatKrogstadwasthe villainofthepieceandhadtobeplayedthatway.Hefoundit hardtofindredeemingqualitiesinspiteofthevarious vulnerabilitiesthatcomeoutduringtheplay.Aboveall,Krogstadisa personwhoisallforhimself.Heishumanandhashisweaknessesbutitis hardtosympathisewithhim.Hefeelsthateveryoneisouttogethimandtheattitudeofthe othercharactersintheplayreinforcesthis.Hedoesadmittohavingdonesomethingillegalin thepastandhehasbeenparticularlyharddonebyandshunnedandslappedinthefacefor thewholeofhislife.However,thatdoesnotmakehimanybetteraperson.Heisthereforevery suspiciousofotherpeople’smotivesandwhenhefinallyacceptsthatKristineissincerehesays “…Now,I’llbeabletoredeemmyselfinotherpeople’seyes.”Attheheartofit,Krogstadisavery self-centredperson.
LaurencetriednotonlytobringoutthehardnessandunpleasantnessofKrogstad’scharacter butalsotoconveyhisuncomfortablefeelingsandweaknessesbytheuseofbodylanguage. Whilst,Lindawantedhimtofindasoftersideandtoshowhishumanityitwashardtofindany sympathetichumanqualities.Astheplayprogressed,theinteractionwithothercharacters servedtoreinforcethehardnessofKrogstad.Laurencefeltthatthepartcriedoutforhimtobe meanandnasty.ThemorevulnerableNorawas,themeanerandnastierKrogstadbecame.The rolewasasatisfyingoneandLaurenceenjoyedplayingitmoreandmoreastheplaywenton. Hismajorfeedbackcommentwas,“Youwerereallynasty.”
Onetechniquethatwasworkedouttogetherwiththedirectorwastousetheglovesandbowler hatasdevicestoincreasethetensionatvariouspoints.WhenKrogstadmadeanentrance, Laurencewasverydeliberateaboutwalkinginslowly,carefullyputtingthehatonthetableand playingwiththeglovesbeforespeaking.Inasadisticway,thiskeptbothNora,whowason tenterhooks,toknowwhathewantedandtheaudiencewaitingforthemomentwhenhebegan tospeak.
AsamemberofEastLaneforabouttenyears,Laurenceisdelightedtohavetheopportunityto playawiderangeofrolesandtohavethesupportandexpertiseofmanyotheraccomplished members.Hegetsalotofsatisfactionoutoftryingto‘become’thevariouscharactersandfeels veryfortunateinhavingthefacilitiesofsuchamarvelloustheatre.Hepointsouttheenormous advantagesofbeingabletorehearsefromtheword‘go’onthestagethatistobeusedfor performancesandtobuildthesetsoveralongperioddirectlyinsitu.Also,thesetdoesnothave toberemoveduntilthecompanyisreadytodosoasthepremiseswillnotbeinusebyothers thenextday.Laurencealsoenjoysdirectingwhichhehasbeenabletodoabouteverytwo years.
ThecharacteriswrittentobeacontemporaryofTorvaldbutthe decisionwasmadetoplayDrRankasratherolder.Thiswastosuit Barry’schronologicalageandtofitinwiththeothercharacterssohe becameanoldfamilyfriend.Heisaveryinterestingcharacter–a bachelorwithtertiarysyphilisandamixtureofbitternessandresignation towardshisfateandimpendingdeath.
Thebitternessislargelybecausehewasnotresponsibleforthecondition,whichhehas inheritedfromhisfatherwho‘carriedon’whenhewasinthearmy.Barryresearchedtheillness onavisittohisdoctorforaregularcheck-upandstartledtheGPwitharequesttoknowthe symptomsofthedisease.Hereceivedaratherold-fashionedlookandtheremarkthathehad notseenmanycasesoftertiarysyphilisrecently.
Onstage,somesymptomshadtobeplayeddownforpracticalreasons-bumpingintopeople wouldnotworkwell,forexample.Unsteadinessonthefeetwasindicatedbytheuseofa walkingstick-asilver-toppedcanethatbelongedtoBarry’sgreatunclewhowouldhaveusedit beforethefirstworldwar.Barrywasalsotheonlymemberofthecastwearinghisownclothes butitwasaslightstruggletogetintohiswhitetieandtails.
Barrynotedthat,ifthecharacterofDrRankweredeleted,itwouldnotmateriallyaffecttheplay, thoughitisnicelydovetailedintobreakupascene.RankdoesalittlescenesettinginAct1 aboutKrogstadandheissomeoneforNoratoconfideininAct2.Also,thereisthedramainAct 3withhisimpendingdeathbut,withsomeadjustment.
Althoughonegetsapictureofthecharacterfromthedialogue,Barrytriednottopinitdown untilhestartsworkingonitsothatitwillfitinwiththedirector’sconceptionandtheactual interactionwiththeothercharacters.Toavoidthepotentialclashofideasthatcouldresult,Barry triesnottoreadthescripbeforetheaudition,relyingonhissightreading.Hiswayofworkingisto workathomeagreatdealtogetinsidethecharacterratherthanrelyentirelyonrehearsalsand direction,especiallyifthepartisrelativelysmallandthegreatestattentionneedstobefocussed onthemaincharacters.Hegoesoverandoverlines,immersinghimselfinitbecausethereisnot enoughtimetodothisinthetheatreinasmuchdetailoveraneightweekrehearsalperiod
Thecharacter,ofcourse,developedinthecourseofrehearsals.Initiallyitwastoooldbecause thewalkingstickfrompropscausedBarrytostooptoomuch.Someoftheemphasisonthe death-wishfadedalittleandtheaffectionforNoragrew.Itwasadifficultbalancebetweenthe cynicismandthebitternessanditwasnotuntiltherewasarealaudiencethatitbecame apparentthattherewereseveralfunnylinesinthepart.Theresultinglaughterwasquite surprisingbutvariedimmenselyfromnighttonight.
Audiencereactionisquiteunpredictable.Barryhadan‘impromptu’lineuphissleeveforthe inevitablemobilephoneringingduringtheperformance:‘Ifthat’sacallforme,tellthemIam otherwiseengaged’–butitwasneverused.
Janiceviewedthecharacterofthemaid,Heleneasa devotedservantwhowasverycaringandprotective towardshermistress.ShealsofeltthatHelenewasafriendto Nora,careddeeplyforherandlookedafterher.
LindawasinstrumentalinhelpingJanicetopickupandbeawareofthe situationintheroomandthemoodsoftheothercharactersoneachofherentrancesso thatshebecamepartofeachsituationwhetherhappyorsad.‘Beingwiththemoment’was achievedbyreadingtheplaymorecloselyandsensingpersonalinteractionwiththe characters.HerlastentrancewhenHelenebroughtintheletterandTorvaldsnatcheditout ofherhandbeforeNoracouldseeit,feltreallyemotional.Itseemedsocruelandthefeeling ofprotectivenesscameoutverystrongly.
Helenehadtowearanelaboratewigwithplaitedsidebunches.Ithadatendencytorideup slightlysoshewasalwaysawareofitandavoidedtakingitoffbetweenentrances.(Janice saysshehasahigherforeheadthanthelastcharacterwhoworethiswigandatonepoint Linda,noticinghowhighitwas,accusedherofcuttingthefringe.)But,theappearance fittedthedirector’svisionofthecharacterandgaveheraveryperiodScandinavian appearance.Janicehadanotherphysicalproblemtograpplewith–gettingtheChristmas treethroughthedoorwithoutknockingitonthetopofthedoorframeorjoltingthecandles outofposition.BryanHourihane,havinghadthesameproblemwiththesametreeina previousproductionshowedherhowtomanageitandmoregluekeptthecandlesfrom moving.
Janice,whohasbeenamemberofEastLanefor10years,appreciatedLinda’sdirection,not justtheexplorationofone’sowncharacterbuthowoneseestheotherpeopleinthe production.Itwasveryinterestinghowrealfeelingsaboutcharactersdevelopedonceone wasonstage.“Laurence(playingNilsKrogstad)–whatadreadful,evilman!Idon’tlikeyou becauseyou’rehorribletomymistress”ShefeltthatallthecharactersinADoll’sHouse foundtheircharactersextremelywell,helpedgreatlybyLinda’sdirection–veryfirmbutshe getsresults.Shefoundthewaythatthecharactersweredevelopedovertherehearsal periodveryinteresting–“Lindagoesbehindthemask”.
“MynameisAaronHenry.IplayedapartinarecentplaycalledA Doll’sHouseanditwasveryfunandallthecastwereverykind.Myrolewasahelmerchild calledIvar.Thiswasmyveryfirstshowforeastlane.Ilivejustacrossthefieldsoit’swalking distanceandIddoesitagain.TheshowwasaboutaNorwegianfamilywhobreakupand don’tevenseeagain.ThistremendousplaywaswrittenbyHenrikIbseninthe1880s.Thiswasa lovelyexperienceformeandmaybeforyou.Aaronhenry”
[TheotherchildrenintheplaywereSonja playedbyClaireSutherlandandEmmy,playedby NicolaSutherland.Nointerviewswererecordedbutthethreeofthemareshownbelowoutof costume]
IhavebeenamemberofEastLanesince1990andconsider myselffortunateinthattimetohavebeencastinseveralrewarding principalrolesaswellascharacterparts.IhavealsoenjoyedcomingdownonaSundayto muckinandgenerallysocialise.Ihavebeenonthecommitteeforsixyears,thelastthreeas Chair,fromwhichIshallretireinSeptember2007.
AsanothermemberofEastLaneoncememorablyobserved,“Whenwomenreachacertain age,theirpartsdryup.”Thisisastrueofmeasofanyother,andsoitwaswithoneeyetothe future(i.e.totaldesiccation)thatIdecidedtostartdirecting.Asanactor,Ihavealwaysbeen pronetocomingupwithmyownideas,sometimesinconflictwiththedirector’soriginal intentions,andIfeltitwashightimetoputmymoneywheremymouthwas.
ImustconfessthatalthoughIloveacting,Iprefertodirect.Takingaplayfrompagetostage andtakingultimateresponsibilityforallaspectsofaproductioncannotbebetteredintermsof personalchallenge.
Whythisplay? PlaysareselectedatEastLanebyinvitingaspiringdirectorstosubmitashort listofplayswhicharethenreadbytheplayselectionsubcommittee.Normally,directorsmay includewhatevertheywant,butforthe2006-200770th anniversaryseasontheplayswereallto befromEastLane’sbackcataloguesothattheseasonshouldcovertherangeoftheClub’s workoverthe70years.
Frankly,thelistdidnotappealtomeatall,consistingasitdidofmiddle-of-the-roadplays muchfavouredinthepastbyAmDramsocieties.Therewerehoweverseveralgemswhichhad beenignoredand,inmyviewADoll’sHousewasoneofthem.Iwantedthechallengeof presentingaplaywhich,althoughithadbeendoneinthepast,wouldnottodayberegardedas an“EastLanePlay”intermsofourcurrentaudienceprofile.Havingdirectedtwocomediesfor EastLane,Iwantedtoextendmyowndirectorialrangebytacklingsomethingmoreseriousin whatlookedasthoughmightbeadrama-lightseason.Ithereforeeschewedthepreparedlist andofferedtodirectADoll’sHouse
Goodoldfashionedbloodymindednessplayedapart;beingtoldbyamemberoftheplay selectioncommitteethatIbsenwouldneverbestagedagainatEastLanemadetheprospectof submittingitasmypreferredchoicedoublyattractive!
Iwasalsokeentodoa‘landmark’pieceoftheatreaspartoftheanniversaryseason.ADoll’s Houseisaflawedplaybutatthetimeitcausedasensation,andthereisnodoubtofIbsen’s placeintheatrehistoryasthemanwhoputtherealintorealism.
ThePlay Today,awifewhowalksoutonherhusbandandfamilyto‘findherself’maynotseem suchabigdeal.Eventodaythough,awomanwhowalksoutonthreesmallchildrenwouldraise afeweyebrowsandIfeltthatNora’sdecisionwouldbeapost-showtalkingpointforaudiences,
whichitwas.Ifeltthattheaudiencewouldneedaconstantreminderofthechildpresenceinthe hometopointthisup,andforthatreasonIwroteinscenes,anddialogue,fortheHelmer children.
IwasverykeenthatNorashouldnotbeplayedasabimbowhomorphsintoafeministiconin thefaceofimpossiblemalebehaviour.Itwouldthereforebenecessarytoshowherstrengths andthemen’srespectivevulnerabilitiesrightfromthestartoftheplay.Thiswouldalsoaffectthe wayinwhichIsubsequentlycasttheplay.
TheCasting Theauditionsconsistedofimprovisationandtextwork;Ialwaystrytoincludean improvisedelementsothatIcanseehowactorsworkwitheachotherandhowfartheycan respondtoadirector’srequest.Althoughtheywerenotpre-conditionsofcastingImadeitclear thatIwouldexpectactorstowarmupvocallyandnottosmokeduringrehearsals.Thisdidnot godownterriblywellbutatleastpeopleknewwhattheywouldbesigningupfor.(Intheend,I castthreesmokers,allofwhomanticipatedtheJuly1stbanwithcourageandoneactorwho hateswarm-upsbutneverthelessshowedespritdecorpsanddidthemcheerfully)
CastinginAmateurdrama,unlessyouareverylucky,isusuallyaprocessofcompromise.Iwas innodoubthoweveraboutmychoiceofClaireMcGillforNora.Claireisnoshrinkingviolet-sheis bright,feistyandsexy,exactlythequalitiesIwantedinNora.HilarywasexactlywhatIwas lookingforinChristinaLinde;thecompromiseelementwasintermsofage,assheandNora shouldreallybecontemporaries.Ihavealwaysbeenanadmirerofheracting,butHilary additionally(andshewillnotthankmeforsayingthis)hasanaturalwarmthwhichis sometimeshiddenonfirstacquaintancebyalayerofapparentreserve.MrsLinde’shead usuallyrulesherheart,butshedoeshaveaheartandIneededanactorwhocouldshowboth layers.Icouldhavecastthesmallerfemalepartsseveraltimes(usuallythecaseatEastLane) andwasfortunatetohavesuchachoice.AnnehasanaturalempathywithchildrenwhichI knewshewouldbringtoherinteractionswiththeHelmerchildren.Janicewasheroicinagreeing totakeontheapparentlythanklesspartofHelenethemaid,butIsuspectshefeltvindicatedas shesawherpartgrowateachrehearsal!
Themen’spartsweremoreproblematic;IamsurethatDes,LaurenceandBarrywouldbethe firsttoadmitthattheywereallthewrongages,butIfeltthattheywouldcopeandthatforeach ofthemtheirpartswouldtakethemoutoftheirusualcomfortzones.
IhadalreadyactedwiththetwolittlegirlsClaireandNickyandknewhowtalentedtheywere; Aaronwasoneofthosestrokesofluck–hisfatherhadwrittenafewmonthsbeforeasking whethertherewereanychildren’sactingopportunitiesatEastLane;Aaroncameandopened thoseenormousdarkeyes,readmeanextractfromHarryPotter,andIsignedhimuponthe spot!
Ihadnocausetoregretanyofthecasting;whereIhadchoicesImadetherightonesand whereIhadnochoice(TorvaldandKrogstad)Iwasgratifiedtoseeeachactorgive,inmyview andthatofothers,theirbestEastLaneperformancestodate.
Iwasluckytohaveexperiencedandtalentedpeopleworkingbehindthescenes.LindaMallet, assistantdirector,isaninsightfulandaccomplishedactorwhoIknewfromexperiencesets muchstorebythetextanditsmultiplemeanings.
JudithMeredithputagreatdealoftimeandthoughtintogettingthecostumesright.Ihaveseen toomanyplays(someofthematEastLane,someofthemquiterecently)wherethesenseof periodhasbeenbadlyletdownbyanachronisticcostumechoices.IfeelthatthankstoJudith thiswasnottobethecasewithADoll’sHouse
GerryTiversshowedsimilarattentiontodetailincreatinganauthenticsetwhichmanagedto combineScandinavianausteritywith19th centuryclaustrophobia.
Underscoringaplayisoneofthemostpleasurableaspectsofthedirectingprocessforme. Perhapsmygreatestpieceofluckcameintheformoftheservicesoftwocomposers.Iwasable touseGrieg’swonderfulstringquartetasincidentalmusic,andwasveryproudeachnightas thiscross-fadedintotheNorwegianfolksongtobepickedup(inimpeccableNorwegianandin thecorrectkey)bythechildren.MysecondcomposerwasLewisLevwhowroteandrecordeda lovelytarantellaforNoratodanceto.
Therearemanypsychologicalambiguitiesinthetextof“ADoll’sHouse”,anditwasimportantto methatfromthestarteachactorshouldhavethoughtabouttheirover-archingmotivation. Eachactorwasgivensome“homework”priortothefirstrehearsal,whichconsistedofsome questionsdesignedtohelpthemexploretheircharacter’sbackground,relationshipsand motivation.Afairchunkofrehearsaltimeintheearlystageswasspentondiscussionoftheir answers,sometimesindividually,sometimesinagroup.Thedecisionswemadetogetheroften servedasagoodpointofreferenceandreminderatthelaterstagesofrehearsal.Iwasvery impressedwiththethoughtthattheactorsputintothis,andhowperceptivetheywere.
Awordaboutwarm-ups.Thepurposeofthewarmupwas:
•Togivethecompanyatransitionfromwhatevertheyhadbeendoingthatdayintothe considerablefocusandhighlevelofconcentrationtobedemandedofthematrehearsal •ofreeupbodyandvoiceand,hopefully,improvethevocalworktoensureahigherstandard ofperformanceoverall,inparticulartoallowindividualswhoneededparticularvocal techniquesfortheircharacterisationtopractisetheseina“safe”groupsetting.
Forrehearsalpurposes,Ihaddividedthetextintosmallsub-sectionsandIuseda“building block”strategy;eachsubsectionwasintensivelyworkedandthefinalstructure(i.e.wholeacts) wasnotputintoplaceuntilrelativelylateintherehearsalperiod..Actorsdon’talwayslikethis bittyapproach,andarealwayskeentostartrunningplaysquiteearly,butItaketheviewthat thereisnopointindoingthisuntildetailedgroundworkhasbeendone.Onapracticalnote,this approachmeansthatactorsdon’tspendtoomuchrehearsaltimesittingaround,astheyare onlycalledforthe“bits”theyarein
Inretrospect Somethingthatprofessionaldirectorsdonothavetodoasaruleissitthrough theirownproductionsnightafternight.Thisisasoberingandhumblingexperience,asallyour mistakescomebacktohauntyou.However,itcanbeajoyfulexperienceaswell,asyouseeall thehardpreparationandrehearsalpayingoff.Asexperiencesgo,thisfelllargelyintothelatter category..Iwasparticularlypleasedthattheintensiveworkdonewiththetwoprincipalson thosescenesrequiringawideemotionalrangehadwroughtagreatimprovementinthelast stagesofrehearsal.
ElainehasbeenamemberofEastLaneTheatreClubsincethe1960s
ShefoundADoll’sHouseveryinterestinganditwasinterestingtolistentothedirectorbutshe founditverydifficulttopromptthisparticularplay.Promptingrequiresonetoknoweachactor’s performanceandinitiallytheywereveryerraticbecausetheydidnotknowtheirlineswell enough..It’snotonlyforpauses–whicharemarkedintoherscriptbutwhenoneisusedtoa person’sperformanceitiseasiertorecognisewhentheyhaveforgottenaline.Also,theydidnot alwayspauseinthesameplace.Partoftheproblemwaswhenperformanceswereinterrupted bythedirectorinordertobringoutthebestincertainofthelines.Someofthecastfeltthatthey neededmorestraightrun-throughs,lettingitflow,inordertogetthelinesandinteractionright. ThishappensbecauseofthetightscheduleforrehearsalsbutElainefoundLinda’sintellectual andanalyticalapproachtotheplaywasveryinteresting.
Takingpartinthisplay,asalwaysatEastLane,wasagoodexperience;Elaineenjoysbeingwith suchastimulatinggroupofpeople.Shehasbeenamembersince1966whenJudithMeredith,a fellowteacherandmembershipsecretaryatthetime,introducedher.Shelaterhadalonggap whilebringingupherchildrenandreturnedaboutfiveyearsagotopromptinStanley.Sheloves ‘theclub’butonceonegetsinvolved,itcantakeoverone’swholelife.‘It’sallornothing.’Thebest thingisbeingpartofateam.
JennyisusedtotheEastLaneauditionprocessasshehasbeenamemberformanyyearsand beeninanumberofproductions..Shehadpreparedmeticulouslyfortheoccasionandfeltthat anauditionisanopportunitytoshowwhatcanyouforagoodselectionofparts.Shepointed outthatitisdifferentfromanauditionfortheprofessionaltheatrewherethedirectorselectsfor eachpartseparatelyfromanumberofapplicants.Inanamateurcompanythereisalimited poolofmembersandthedirectormustselectonthebasisnotjustofwhoisthebestfitforeach partbuthowthetotalcombinationwillwork-howtheylookandsoundtogether.Ofcourse, everyonehastoshowthattheycanreadthepart.Jennyfeltthattheamateurtheatregaveone theopportunitytotacklepartsforwhichonewouldneverbeconsideredintheprofessional theatre.Shesaidthatifyouputyourselfforwardforapart,thedirectorhastohaveconfidence thatyoucan‘doit’butyoualsohavetohaveconfidencethatthedirectorcanbringtheroleout ofyou.
OnthisoccasionJennywasnotselected.Sheknowsthatthereareseveralmemberswhocould playeachroleandsheenjoyedtheaudition.Generally,sheprefersrehearsalstotheactual performancesbecauseofthefunofworkingtogethertogetthebestoutofashowandthe satisfactionofseeingtheplaydevelop.Anauditionmeansselectionsforsomeandnonselectionsforothers.Jennyisacutelyawarethatsheisworkingamongstfriendsandtriesto avoidanypossibleembarrassmentbyquicklycongratulating(sincerely)thesuccessfulplayers assheisgenuinelyhappyforthem.
Judith’sjobinchargeofcostumesstartedwithadiscussionwithLindatounderstandthe director’svisionforthecostumes.Thisestablishedthesortofcostumeseachofthecharacters wouldbewearingineachscene,bearinginmindthetimeofdayandyearandwhetherthey wereenteringfromout-of-doors.JudithandLindathensearchedtheclub’sownwardrobeand anythingthatmightpossiblyhavebeensuitablewasextracted.Atthesecondrehearsalthe costumeswerediscussedwiththecastandthosethatweresuitableandfittedweresortedout.
Atfirst,JudithwasnottoohappyaboutthecostumeselectedforKristinebecauseitwasthe sameonethatJudithhadworninthepartin1971(seetheprogrammeforaphoto.)Infactit workedwell.Nora’scostumeswereallsourcedfromthewardrobe.Thegypsycostumewasa realfindandlookedsuperbwithalittleenhancementbyClaire’smother.
Laurencewasabletoprovideacompletesetofsuperbcostumesforhischaracter,NilsKrogstad andBarryprovidedhisowncostumesforDrRank.ForTorvaldatailcoatandacut-awaycoat wereborrowedfromafriendandDesmondprovidedanother.BarrySerjentwasagreatsource ofexpertiseonhowtoputonandweartheformalwearsuchasthewingcollarsandwhite waistcoats.Theonlyclothesthatneededtobeoutsourcedweretheoutercoatsandsome shoes.Aconsiderableamountoffurwassewnontoalmosteveryone’soutergarmentstomake themlookauthentic.
Desmond’sformalshoesforthepartywereparticularlydifficulttofind.Apairwasspottedina charityshopbuttheywereoutsidethebudgetandbythetimeadecisionhadbeenmadethey hadgone.However,anevenmoresuitablepairofblackpatentshoeswasfoundinanother charityshopfor£8.Hissmokingjacketwasoriginallyonlyjustsuitablebutanotherjacketwas foundbyafriendofJudith;itwasrepairedandadaptedintothesplendidgarmentthathewore fortheplay.Asitwasindelicatecondition,Desmondwasputunderstrictinstructionabouthow tocareforitovertheproductionperiod.
Itwasclearthatthebiggestproblemwaslikelytobecostumesforthechildrenasthereis verylittleinthewardrobeinthosesizes,orthatcouldbeadapted.Thefirstportofcallwastheir parents,whowereveryhelpful.TherewasahatinthewardrobeforAaron(andanamazingone forBryanastheporter.)Aaron’smothercutdownsometrousersandJudithwasabletoborrow asuitablejacketandacloakandglovesforhimaswellasacheckdressforClaireanda numberofothercostumes.Thechildren’scostumeswerealsothemostdifficulttoresearchand alotoftimewasspentontheinternettryingtofindpicturesofordinarychildren’swinterwearat theturnofthecentury.Mostoftheliteraturetendsnottoshoweverydayclothes.
JitenjoinedEastLanelastsummerandhisauditionforapartinwashisfirstattempttogeta part.Heactedatschoolandhaswantedtohaveanothergoforages.
Theauditionprocesswastoreadforseveralrolesratherthanoneparticularrole–though,had hebeenselected,Krogstadwouldhavebeenhispreferredpart.Hehasnothadmuchacting experiencesohewaslookingforasmallpart.Unfortunately,allthepartsinADoll’sHouseare quitebigroles.However,hefoundtheauditionexperienceitselfwasveryworthwhileasitwasthe firststepinreadingtoasmallaudiencefromthestage.
Atfirstitwasquitenerve-rackingbutoncehestartedreadinghegotcaughtupinthecharacter andwasinvolvedintheaction.Afterwards,othermembersofEastLanegavehimgoodtips, suchasavoidingswayingwhilehewasstandingandreadingasthecharacterratherthan simplyreading.Theseandadjustinghistonalitieswillcomewithexperience.Hesaidthathewas notdisappointedashehadachievedtheinitialexperienceoftryingandenjoyedit.
Jitenisamarketingmanagerandfeltthatthereisadirectlinkbetweenactingandthe marketingpresentationsheroutinelyundertakes.Asamanagerheappreciatedthe professionalandorganisedwayinwhichtheauditionprocesswasconducted.
SelectionoftheplayBryanasartisticdirectorisinvolvedinthechoiceofplaystobeputon.As 2006/7isthe70th anniversaryyearoftheEastLaneTheatreClubitwasdecidedtoputonfour productionsof‘classic’EastLanetypeplaysthathadbeenpreviouslyputonbytheclub.All membersaspiringtobedirectorswereaskedtoputforwardtheirchoicesofplaysandthe criteriaforselectionwerepublishedin‘SceneSetter’.Theartisticcommitteethenmadea selectionofplaystogetherwiththedirectorswhohadproposedit.Abalancedsetofplayswas neededfortheseasonandtheothercriteriaweretheabilitytocastforeachoftheplaysfrom themembership.It’salong,iterativeprocessand ADoll’sHouse,directedbyLindaHampson waschosenasoneofthefour.TheotherswereTheImportanceofBeingErnest,therevue, ChristmasCrackersand?inaudible
RolesinADoll’sHouse Bryanwasback-stage,inchargeofoperatingthesoundfortheplay.He modestlypassesthecredittoGerryTiverswhosetitupandsaysthatitisaneasyjobconsisting ofpressingbuttonsoncue.Theonlytypeofsoundinhischargewasmusicasalltheother soundsuchasdoorbellswasdonebytheactors.
ThesoundroleallowedBryantohaveawalk-onpartaswell,thesmallestinhisactingcareer, thatoftheporter.Ithadtheadvantagethathecouldguaranteetogethisline(s)absolutely righteverytime!Ithadthedisadvantagethathehadtowearanenormous,sillyand embarrassinghat.Hefoundthattheonlytimethathecouldgetintocharacterwaswhenheput thehaton.
BudgetBryanhastheresponsibilityformakingabudgetforeveryshowtoactasaguideforthe directorandstagemanager.Thisplayisthefirsttowhichproperbudgetinghasbeenapplied. Themoneyavailableisarrivedatbyassessingtheticketsalesfortheplay.Mostofthecostsare fixed:thetheatrehire,licence,photographs,advertising.Thevariablesareincomefrombar,café andticketsales.Forasimple,straightforwardplaylikeADoll’sHouse,itrelativelyeasyto estimatemostcosts,thoughcostumesandpropertiesmaybemoredifficult.
TheTheatre BryanwaschairmanoftheclubwhenfirstitwasdecidedthatEastLanewouldgo forbuildingitsowntheatreonthesiteofwhatwasthenitsstorageroomandworkshop.Thiswas amajordecision–thealternativewastolookforachurchhalltoreplacetheonetheyhadbeen usingandwhichwasbeingpulleddown.Bryanheadedthe‘buildit’groupandatan ExtraordinaryGeneralMeetingthego-aheadwasgiveneventhoughitmeantraisingahuge amountofmoneyandstoppingproductionsforayear.Theoriginalestimatewasabout£20,000 butbuildingcostsovertheyearshavebeencloserto£100,000.Thetheatrewasopenedin1990 andfacilitieshavebeenaddedcontinuouslysincethen.Theinitialgrantof£36,000camefrom theSportsandArtsFoundationandmanyeventswereputontoraisemoneybysponsorship andothermeans.Eachseat,forinstancewassponsored.Theyoriginatedasoldcinemaseats thatwererefurbished,re-coveredandinstalledfor£50each.12-hour,no-stopplayreadings wereputonandsponsored.Thecarpetwasdonatedandothercontributionsinmoneyandin kindcamefrommembersandothers.
Itisthestagemanager’sjobtointerpretthedirector’srequirementsforeverythingtodowiththe buildandoperationofthestageenvironment–principally,theset,thesoundandthelighting. Thisstartsoffwithabrief,roughplan.Agreementisreachedonthepositioningandtypeof doorsandwindows.Inthiscasealargedoubledoorwasspecifiedwhich,whenopenrevealsa hallwaythroughwhichtheactorsenterandleave.Therearetwootherdoors.Amoredetailed planisthendrawnupandthesetisbuilt.Itwasfoundthatthehallwaywasnotsufficientlywide toallowHelene,themaid,tobringintheChristmastreeandthebackwalloftheroomhadtobe movedforward.Thatresultedinthesidewallsbeingshorterandsosomere-positioningofthe doorsandthewindowhadtobedone.
Thecolourschemewasagreedwiththedirectorandthesetbuiltandpainted.Allmembersof theclublentahandwithwoodworkandpainting,accordingtotheirskills.Propswereobtained, furniturebroughtinfromthestoreoracquiredandanynecessaryupholsterycarriedout,onthe chaiselongueforinstance.AwreathwasmadetogooverthedoorandtheChristmastreewas dressed.Nakedflamesandrealcandlescouldnotbeusedforthetreeandasubstitutewas needed.Obviouslyitwouldnotdoforthemalltocomeonatoncesomainspoweredlightswere nouse.Fortunatelybatteryoperated‘candles’werefoundandwithaslightmodificationthey weresoconvincingthatonememberoftheaudienceremarkedduringtheintervalthatshewas worriedbythefirehazard.Theillusionwashelpedbythetaperwhichwas‘lit’fromthestove.It washomemadefromatubewithabrightorangeLEDgluedinthetopwithacandleeffect coverandabatteryinside.Quitealotofrehearsalwasneededtogetcandlesandtaper settingsrightsothatNoracouldlightthemwithaslighttwistthattheaudiencewouldnotnotice. Thefinaltouchwastoreplacethecandleswithshortonestolookasthoughtheyhadburned downforAct3.Togetarealfeelforalightedstove,twoflickerlightsplusasolidredlightwere used.
ForADoll’sHousetwodifferentmoodsoflightingwerewanted,afeelingofdaylightemanating fromthewindowandafeelingofnighttimeandartificiallight.Thedaylighthasacoldercolour andasduskapproachesgrowsdimmer.Theartificiallightcouldhavebeengasorelectricity andtherewasquitealotofdiscussionaboutthis.Intheend,itisratherambiguousbutcloserto gasthanelectric.Ithadbeenintendedtouseflickerbulbsthatmimicgaslightbutthenew dimmerequipmentbeingusedwasnotreallycompatibleandtheyswitchedratherthan dimmed.Aseachlampis‘lit’thestagelightingisincreasedinsympathy.
Thefirstthingwastodecidewherethelampsaregoingtobepositioned.Thetheatreisfairly limitedforplacinglampsbutdifferentsorts,coloursandintensitiescanbeused.After positioningthelamps,thetimingofthelightingchangesallhadtobeworkedoutand programmedintothe‘desk’.Asaresult,duringtheshow,allthatwasnecessarywastopressa buttonateachcuetoinitiateeachsetting.Thetimetosetallthisupisverymuchgreaterthan thetimetooperateit.Itneedstobedonewhentheauditoriumisdark–whichmeansthat rehearsalscannotberunning–soGerrycameoverduringthedayandsetitupoverseveral sessionsonhisownwiththelightingboardonhisknee.Thereisamonitorfromwhichthestage canbewatchedduringtheperformancebutitisnotadequateforassessingtheeffectforan audience.Thatmustbedonefromtheauditorium.
EastLanenowhassomeLEDlampsthathavethegreatadvantagethatonelampcanprovidea greatrangeofdifferentcoloursbychangingthecombinationandintensitiesofthered,green andbluecomponentLEDs.TheyhavebeenusedtogreateffectinpreviousshowsbutGerry decidedtouseconventionaltungstenlampsforADoll’sHousebecausehefeelsthatLEDSdo nothavethesubtletyrequiredandthecoloursareverysaturatedsotheylooksomewhat
artificialandharsh.Theyhavea‘modern’lookandtheydon’tdimparticularlywell–they sometimesflashonthewayout.Withtungstenlamps,gelatineisusedtogetthecolours.This meansthatmorelampsarenecessarytocopewithchangesandtheyaremoretime consumingtosetup.
Lindafoundallthemusicfortheplay;andherhusband,Lewiscomposedandplayedthe tarantella.Gerrysoughtoutandfoundthesoundeffectssuchassleighbellsanditwasall incorporatedaccordingtoLinda’srequirements.Act1openstothesoundofchildrensinginga traditionalNorwegianChristmassong.Thiswasdownloadedfromtheinternetandthethe sleighbellsmergedin.Thechildrenlearnedthewordsandcopiedaswellastheycould,soasto blendinasthecurtainsopened.Duringtherehearsalstherewasatremendousamountof interactionbetweenthedirectorandstagemanagerinordertomakeadjustmentstosound levelsandtofine-tunethetiming.Thedancemusicfortheballwasplayedthroughonesetof speakersatthebackofthestagetomodelabellontheflooraboveandthoughdifferent speakerstosimulatethepianowhenbeingplayedintheroom.Thefurniturewasmovedback forthetarantellanotjusttogivemoreroomfordancingbutalsotomaskthefactthatDrRank wasnotactuallyplaying.Itisdifficulttogetthesoundlevelsrightinanemptytheatrebecause anaudiencewillabsorbsomeofthesoundandbecausethesoundlevelvariesgreatly accordingtothepositionintheauditoriumfromwhichonelistens.
’OneofthebestproductionseverbyEastLane.’
‘Tarantellawasgoodbutwhenplayedupstairsabitloud’
‘AtoweringperformancebyJanice.Totallyinpart.OnecouldimaginetheSwedish (sic)accent.’
‘Thecostumeswereexcellent–atfirstIthoughttheywereabitdowdyandthenI realisedthattheywerenotonlyauthenticbutfittedwellwiththe‘pared-down’ production.’
‘IfoundTorvald’sIrish-Americanaccentincongruous.’
‘Lawrencewasthestar–totallyincharacter.’
‘Torvaldwaswoodenandun-empathetic.Thiswellsummedupthecharacterhe wasplaying,sodictatedbyconventionandselfishness.’
‘ClarecarriedoffthepartofNorasuperbly,inawaythatsomeonealittleyounger andmorebeautifulmightnothavemanaged.Onlyletdownslightlybythedancing oftheTarantella.’
TheOriginalProposaltomakeabookontheELTCproductionofADoll’sHouse UniversityofWestminster
DegreeinPhotographicArtsAdvancedPhotographyPractice
DavidSimmons–Proposaltomaketwobooks
Book1 ThefollowinghasbeenapprovedbytheexecutivecommitteeoftheEastLaneTheatre Clubforgo-ahead:
hisoutlinebrieflydescribesaproposedprojecttowriteabookthattellsthestorydescribingof theproductionoftheplayfromapprovalbytheselectioncommitteetothepost-production activities.Theaimwouldbetolookattheartisticaimsandthepracticalproductiondecisions thatweretakenandhowtheywereimplementedduringthelifeoftheprojectandperhapsto includeacritorevaluationoftheperformedplay,egaspublishedinTheClub’snewsletter, SceneSetter.
Thetextwouldbeamixtureofamajorcontributionbythedirectorandcontributionsbyas manyoftheothermembersinvolvedaspossible,includingactors,stagemanagement,lighting, setdesignandconstructionandsomemembersoftheaudience.Althoughwrittencontributions wouldbewelcome,itisanticipatedthatIwouldinterviewpeople,writeuptheinterviewsand havethemcheckedforcorrectness.Iwouldtakephotographsatrehearsals,especiallythedress rehearsal,duringsetbuildingandatotherappropriatetimes.
ThebookwouldbeproducedastheoutcomeofamoduleofmyBAinPhotographicArtscourse butwouldbeforthebenefitofELTC.Itwouldtaketheformofasingle,suitablyboundpaperbook that,afteracademicassessmentwouldbelenttoELTCwiththeoptionofhavinganotherone madeatcost.AnelectronicversionwouldbeprovidedtoELTCwithoutcharge.
ELTCwerealreadyfamiliarwithmyphotography.Ishouldbehappytoshowanexampleofa bookIhaveproduced.
Book2–Thedetailsofthesecondbookarenotshownhereastheyarenotrelevanttothis document.
DavidSimmons January2007
Actone- ChristmasEveinthewellfurnishedlivingroomofNoraHelmer Noraenterscarryingseveralpackages. Herhusband,Torvaldcomesoutofhis studyandgreetsherplayfullyand affectionately,butthenchidesherfor spendingsomuchmoneyonChristmas gifts.HerevealsthattheHelmershave hadtobecarefulwithmoneyformany years,butthatTorvaldhasrecently obtainedanewpositionatthebank whereheworksthatwillaffordthema morecomfortablelifestyle.
Helene,themaid,announcesthatthe Helmers’dearfriendDrRankhascome tovisit.Atthesametime,anothervisitor hasarrived,KristineLinde,aformer schoolfriendofNora.Kristinecomesinto theroom.Theyhaven’tseeneachother foryears,butNoramentionsshe’dread thatKristine’shusbandhadpassedaway threeyearsearlier.ButKristinewasleft withnomoneyandnochildren.
NoratellsKristineaboutherfirstyearof marriagetoTorvald,explainingthatthey wereverypoorandbothhadtoworklong hours.Torvaldhadbecamesickandthey hadtotraveltoItalyforTorvald’srecovery Kristineexplainsthatforyearsshehadto careforhersickmotherandhertwo youngerbrothers.Hermotherhaspassed awayandthebrothersaretoooldtoneed her.Shefeelsemptybecauseshehasno occupation;shehopesthatTorvaldcould helpherobtainemployment.Norareveals agreatsecrettoKristine—shehad illegallyborrowedmoneyfortheirtripto Italy;tellingTorvaldthemoneyhadcome fromherfather.Foryears,shehas secretlyworkedandsavedtorepaythe debt,anditwillsoonbefullyrepaid.
Krogstadlow-levelemployeeatthebank arrivesandgoesintointoTorvald’sstudy. NoraisuneasyatKrogstad’spresence. DrRank,comingoutofthestudy,says
Krogstadis“morallysick.”Afterhis meetingwithKrogstad,Torvaldcomes intothelivingroomandsaysthathecan probablyhireKristineatthebank. Alldepart,leavingNoraaloneuntilher childrenreturnwiththeirnanny,AnneMarie.Krogstad’sisstillintheroomNora andKrogstadconverseandheis revealedtobethesourceofNora’ssecret loan.
KrogstadsaysTorvaldwantstofirehim fromhispositionatthebankandasks Noratouseherinfluencetoensurehis positionremainssecure.Sherefuses, Krogstadsayshehasacontract containingNora’sforgeryofherfather’s signature.Heblackmailsher,threatening torevealhercrimeandtobringshame anddisgraceonbothNoraandher husbandifshedoesnotpreventTorvald fromfiringhim.
WhenTorvaldreturns,Noratriesto convincehimnottofireKrogstad,but TorvaldrefusesdeclaringthatKrogstad animmoralmanandstatesthathefeels physicallyillinthepresenceofsuch people.
ActTwo-nextday,Christmasday. Alone,Noraanxiouslypacesherliving room,Kristinearrivesandhelpssew Nora’scostumefortheballthatNoraisto attendthefollowingevening.It’satthe Stenborgs,wholiveabovethem.
NoratellsKristinethatDrRankhasa mortalillnessthatheinheritedfromhis father.Nora’ssuspiciousbehaviourleads KristinetoguessthatDrRankisthe sourceofNora’sloan.Noradenies Kristine’schargebutrefusestorevealthe sourceofherdistress.Torvaldarrives, andNoraagainbegshimtokeep Krogstademployedatthebank,butagain Torvaldrefuses.WhenNorapresseshim, headmitsthatKrogstad’smoralbehavior isn’tallthatbothershim—hedislikes Krogstad’soverlyfamiliarattitude.Torvald andNoraargueuntilTorvaldsendsthe maidtodeliverKrogstad’sletterof dismissal.
Torvaldleaves.DrRankarrivesandtells Norathatheknowsheisclosetodeath.
Sheattemptstocheerhimupandbegins toflirtwithhim.Sheseemstobe preparingtoaskhimtointerveneonher behalfinherstrugglewithTorvald. Suddenly,DrRankrevealstoNorathat heisinlovewithher.Inlightofthis,Nora refusestoaskhimforanything.
OnceDrRankleaves,Krogstadarrives demandinganexplanationforhis dismissal.Hehaschangedthetermsof theblackmail:henowinsiststhathebe rehiredinahigherposition.Hethenputs aletterdetailingNora’sdebtandforgery intheHelmers’letterbox.Inapanic,Nora tellsKristineeverything,andKristine instructshertodelayTorvaldfrom openingtheletterwhileshegoesto speakwithKrogstad.TodistractTorvald, Norabeginstopracticethetarantellashe willperformatthatevening’scostume party.Shedanceswildlyandviolently, displeasingTorvald.Shemanagesto makeTorvaldpromisenottoopenhis mailuntilaftersheperformsattheparty. Kristinesoonreturnsandsaysshehas leftKrogstadanotebuthewillbegone untilthefollowingevening.
ActTwo–beforetheball
Thenextnight,asthecostumepartyis takingplaceupstairs,Krogstadmeets KristineintheHelmers’livingroom.Their conversationrevealsthatthetwohad oncebeendeeplyinlove,butKristineleft Krogstadforawealthiermanwhowould enablehertosupportherfamily.Shetells Krogstadthatsheisnowfreeofherown familialobligationsandwishestobewith himandcareforhischildren.Krogstadis overjoyedandsayshewilldemandhis letterbackbeforeTorvaldcanreaditand learnNora’ssecret.Kristine,however, insistsheleavetheletter,becauseshe believesbothTorvaldandNorawillbe betteroffoncethetruthhasbeen revealed.
SoonafterKrogstad’sdeparture,Nora andTorvaldenter,backfromthecostume ball.AftersayinggoodnighttoKristine, TorvaldtellsNorahowdesirableshe lookedasshedanced.DrRank,whowas alsoatthepartyandhascometosay goodnight,promptlyinterruptsTorvald’s advancesonNora.AfterDrRankleaves,
TorvaldfindsinhisletterboxtwoofDr Rank’svisitingcards,eachwithablack crossabovethename.Noraknowsthey constitutehisannouncementthathewill soondie,andshetellsTorvald.Shethen insiststhatTorvaldreadKrogstad’sletter.
Torvaldreadstheletterandisoutraged. HecallsNoraahypocriteandaliarand saysshehasruinedhishappiness.He declaresthatshewillnotbeallowedto raisetheirchildren.Helenethenbringsin aletter.Torvaldopensitanddiscovers thatKrogstadhasreturnedNora’s contract(withtheforgedsignature). Overjoyed,Torvaldattemptstodismiss hispastinsults,buthisharshwordshave triggeredsomethinginNora.She declaresthatdespitetheireightyearsof marriage,theydonotunderstandone another.Atthispoint,NoratellsTorvald thatsheisleavinghim,feelingbetrayed, disillusioned,andlikeshehaslosther ownreligion.Sheneedstogetawayfrom herfamilyinordertounderstandherself, asallherlife—firstfromherfather,and thenbyherhusband—she’sbeentreated likeadolltobeplayedwithandadmired.
Torvaldbringsuphisconcernwith reputationagain,andinsiststhatshefulfil herdutyasawifeandmother.Nora replies
NORA:Ihaveotherequallysacred duties.
HELMER:Youdonot.Whatdutiescould theybe?
NORA:Thedutiestomyself. Shecannotbeagoodmotherorwife withoutlearningtobemorethana plaything.Sherevealsshehadactually plannedtokillherself,expectinghewould wanttosacrificehisreputationforhers, butthatwasnotthecase.
AfterNoraleavesthekeysandher weddingring,Torvaldbreaksdown crying.Norathenleavesthehouse,her actionemphasisedwithherslammingof thefrontdoor.
