this week in broadway

MARVIN’S ROOM

Sisters Lee (Janeane Garofalo) and Bessie (Lily Taylor) reunite after eighteen years in Marvin’s Room (photo by Joan Marcus)

American Airlines Theatre
227 West 42nd St. between Broadway & Eighth Ave.
Through August 27, $47-$127
212-719-1300
www.roundabouttheatre.org

Scott McPherson’s 1990 play, Marvin’s Room, is finally making its Broadway debut, in a touching and funny Roundabout production directed gracefully by Anne Kaufman. The work, which focuses on the complex relationship between two sisters, ran in New York at Playwrights Horizon and the Minetta Lane Theater in 1992-93, winning two Drama Desk Awards (including Outstanding Play) and an Obie, and was then turned into a film in 1996 with an Oscar-nominated Diane Keaton, Meryl Streep, Leonardo DiCaprio, and Gwen Verdon. For its Great White Way bow, it has enlisted a pair of fab actresses to portray the sisters. Lily Taylor stars as Bessie, a forty-year-old woman who has been caring for her ailing father, Marvin (Carman Lacivita), and her partially incapacitated aunt, Ruth (Celia Weston), in their Florida home for decades. “Dad’s dying but he’s been dying for about twenty years. He’s doing it real slow so I don’t miss anything,” Bessie tells Dr. Wally (Triney Sandoval), who is filling in for her regular physician. “And Dr. Serat has worked a miracle with Ruth,” she adds. “She’s had constant pain from her back since she was born, and now the doctor had her get an electronic anesthetizer; you know, they put the wires right into the brain and when she has a bad pain she just turns her dial. It really is a miracle. . . . If she uses it in the kitchen our automatic garage door goes up. But that’s a small price to pay, don’t you think?” The scene’s elements of vaudeville slapstick prepare the audience for Bessie’s discovery that she is sick as well. Her sister, Lee (Janeane Garofalo), arrives from Ohio to offer assistance, along with her two boys, Charlie (Luca Padovan) and the older, deeply troubled Hank (Jack DiFalco). It’s not exactly the most heartwarming of family reunions as everyone tries to decide how far they’re willing to go to help.

Ruth (Celia Weston) and Bessie (Lily Taylor) have their hands full in Broadway debut of 1990 Scott McPherson play (photo by Joan Marcus)

Garofalo (Russian Transport, The Truth about Cats and Dogs), in her Broadway debut, and Emmy winner Taylor (Aunt Dan & Lemon, Six Feet Under) get the sibling thing just right; they even look somewhat similar, and more so as the play continues. Taylor plays Bessie with a soft vulnerability beneath her hard shell, while Garofalo is excellent at keeping Lee’s motives just under the surface. Whenever they are together, Marvin can be seen in silhouette lying down in the bedroom, a constant reminder of what drove the sisters apart. Tony nominee Weston (True West, The Last Night of Ballyhoo) provides comic relief as the slow-moving, God-fearing Ruth, who refers to a bowel movement as a “stinky.” The set by Laura Jellinek (The Nether, The Wolves) easily slides from kitchen to doctor’s office to hospital room to retirement home while Obie winner Kauffman (Marjorie Prime, Belleville) moves the story at a calm pace despite the occasional fireworks. The play was inspired by childhood memories as well as a different play McPherson was writing, about an AIDS clinic. McPherson later cared for his partner, a cartoonist and activist who died of AIDS in February 1992 at the age of thirty-three; McPherson, who also wrote Scraped, passed away from AIDS complications later that year, at the same age. Marvin’s Room is a tragicomic story that boldly addresses the question of what happens when a caregiver needs a caregiver as well as a bittersweet reminder of the weight of family responsibility and heartbreaking loss.

MICHAEL MOORE: THE TERMS OF MY SURRENDER

Michael Moore makes his Broadway debut in The Terms of My Surrender (photo by Joan Marcus)

Belasco Theatre
111 West 44th St. between Sixth & Seventh Aves.
Tuesday – Saturday through October 22, $29 – $149
www.michaelmooreonbroadway.com

“How the fuck did this happen?” Michael Moore asks at the beginning of his Broadway debut, The Terms of My Surrender, which opened last night at the Belasco Theatre for a three-month run. He makes it clear that he’s talking about the election of Donald J. Trump, not his one-man show on the Great White Way. For nearly two hours, the filmmaker, activist, and mensch, dressed in his usual schmatas including ever-present baseball cap, mixes pivotal moments from his life with ideas about how the left can come together and retake control of the White House and Congress. When he’s talking about President Trump, usually standing at a microphone at the front center of the stage, a giant American flag behind him, he does not quite have the fanatical fury or commanding presence of George C. Scott as General George S. Patton that setup evokes but instead comes off as a comic pundit preaching to the choir on MSNBC. But when he sits down at a desk or in a comfy reading chair and shares personal stories about how one person — himself, in several cases — can indeed make a difference, the his performance is riveting. Moore relates how he got involved in an Elks Club controversy; how he and a friend went to Germany to protest Ronald Reagan’s visit to a Nazi cemetery in Bitburg; how the governor of Michigan is involved in the poisoning of thousands of children with lead-laced drinking water in Moore’s impoverished hometown of Flint; and how one librarian from Englewood affected the publication of his 2001 book Stupid White Men. (That librarian, Ann Sparanese, was in the audience on opening night and received a standing ovation. Also on hand for the opening-night celebration were Harry Belafonte, Anna Deavere Smith, Dan Rather, Christie Brinkley, Brian Stokes Mitchell, Marlo Thomas, Jonathan Alter, Nia Vardalos, Al Sharpton, Rosanna Scotto, and Tony Bennett.)

Michael Moore settles in for his Broadway debut, The Terms of My Surrender (photo by Joan Marcus)

Michael Moore will consider ways to win back Congress and the White House during three-month run at the Belasco Theatre (photo by Joan Marcus)

A set piece about carry-on items banned by the TSA is hit-or-miss, and a game show pitting the dumbest Canadian in the audience against the smartest American is silly and goes on too long, serving as a way for Moore to spout yet more statistics at us. An informal tête-à-tête with a surprise guest — on opening night it was Gloria Steinem and previously has featured Bryan Cranston, Rep. Maxine Waters, Morgan Spurlock, and Judah Friedlander — can become self-indulgent, a crafty way to turn the spotlight away from Moore temporarily, but that’s easier said than done, as Moore can’t help being the center of attention, whether on a Broadway stage, on television (TV Nation, The Awful Truth), or in such films as Roger & Me, Bowling for Columbine, Fahrenheit 9/11, and Michael Moore in Trumpland. His shocking tale of receiving death threats and assassination attempts brings the show to a screeching halt when he decides to test the FCC by calling a public figure and making the same death threats he got from Glenn Beck. Moore most certainly is not in Trumpland at the Belasco, where the predominantly liberal audience claps often in support of the Flint native’s views on the president and politics. Tony-winning director Michael Mayer (Hedwig and the Angry Inch, Spring Awakening) has his hands full with the show, which jumps around from scene to scene and bit to bit, including a fair amount of ad-libbing, as Moore updates his comments with the latest news to keep things fresh. Tony-winning designer David Rockwell’s (She Loves Me, Kinky Boots) set features a desk and chairs that slide on- and offstage and a large American flag backdrop onto which Andrew Lazarow projects photographs, clips of Trump, headlines, and other images. There’s also an empty presidential box waiting for Trump, complete with “little opera gloves,” but don’t expect Trump or Vice President and Broadway superfan Mike Pence to take those seats anytime soon. The show is uneven, but when Moore, an often amiable yet fiery fellow who drives the right insane, gets away from the rhetoric and focuses on his heartfelt conviction that one person really can initiate change — and insists that now is most definitely not the time to give up — The Terms of My Surrender is right on target, reminding us all that if Moore can do it, there’s no reason we can’t either.

1984

Citizens of Oceania prepare for the Two Minutes Hate (photo by Julieta Cervantes)

Hudson Theatre
139-141 West 44th St. between Sixth & Seventh Aves.
Tuesday – Sunday through October 8, $35 – $274
www.thehudsonbroadway.com

Among the myriad virtues of George Orwell’s final novel, the 1949 groundbreaking, language-redefining 1984, is its continued relevance to changing times, as every generation finds its prescience remarkable. “It’s a vision of the future no matter when it’s being read,” Martin (Carl Hendrick Louis), an antiques dealer, tells protagonist Winston Smith (Tom Sturridge) in Robert Icke and Duncan Macmillan’s confounding stage version, running at the Hudson Theatre through October 8. Martin was talking about both Winston’s secret diary and the masterful source material, Orwell’s clear-eyed view of a bleak future ruled by unseen totalitarian entities who keep the populace under constant suppression and surveillance. Later in the scene, Martin explains to Winston, “Every age sees itself reflected.” Neither of these lines is in the original text, but they get to the heart of this inconsistent theatrical adaptation. Orwell warned us that all this was coming, and now we’re virtually there, pun intended. It’s no coincidence that the book keeps appearing on the bestseller list as President Donald Trump and his associates speak out about “alternative facts” and “fake news” and cabinet members are confirmed to head departments responsible for policy they seem to be against. Icke and Macmillan have interlaced a confusing framing story that takes place well past 2050, inspired by the book’s appendix, looking back at how Winston attempted to navigate a world drowning in Newspeak, where Big Brother proclaims, “War Is Peace,” “Freedom Is Slavery,” and “Ignorance Is Strength” and such words as “doublethink,” “thoughtcrime,” “telescreen,” and “unperson” have entered the lexicon. Romantic love is illegal, but Winston and Julia, who both work at the Ministry of Truth, where Winston erases people and events from history, decide to take a risk, finding themselves in each other’s arms while also plotting to bring down the party. But it’s not going to be easy, as they soon discover.

O’Brien (Reed Birney) explains the way things are to Winston (Tom Sturridge) and Julia (Olivia Wilde) (photo by Julieta Cervantes)

The 101-minute intermissionless play features some very strong moments, particularly whenever party leader and possible Brotherhood agent O’Brien (Reed Birney) is onstage. The scenes change with a shocking blast of noise and blinding white lights, courtesy of sound designer Tom Gibbons and lighting designer Natasha Chivers, which is frighteningly effective. Later, the torture scenes are so graphic that the theater bars anyone under fourteen. (Originally there was no age limit, but too many families were exiting early with their scared youngsters in tow.) Playing off the concept of the telescreen watching people’s every movement, Icke (Oresteia, Mr. Burns, a post-electric playEvery Brilliant Thing, City of Glass) rely too much on live projections by video designer Tim Reid; at one point the audience is watching the screens at the top of Chloe Lamford’s set for an extended period of time as no live action takes place onstage but instead is being streamed from offstage. In addition, the fourth wall is broken twice, but it’s more of an off-putting device than it is an effective warning that this could happen to us if we’re not careful. “Words matter. Facts matter. The truth matters,” Winston says as the play references Trump and his fight with the media. There’s not much passion between Wilde, in her Broadway debut, and Tony nominee Sturridge (Orphans, Punk Rock), while Tony winner Birney (The Humans, Circle Mirror Transformation) brings just the right calm demeanor to O’Brien. The cast also features Michael Potts as Charrington, Nick Mills as Syme, Wayne Duvall as Parsons, and Cara Seymour as Mrs. Parsons, and the disappearance/erasure of one of the secondary characters is handled quite cleverly. But the narrative jumps around too much between the past, the present, and the future and strays too often from the central plot, creating confusion and annoyance. The story’s overall message — which Orwell arrived at in part as a response to the rise of Stalinism while also predicting the German Stasi — gets buried in too much stylistic stagecraft. However, its relevance is still terrifyingly apparent: Big Brother is indeed watching us, and we don’t seem to mind anymore what they see.

BROADWAY IN BRYANT PARK 2017

Groundhog Day is one of many musicals that will present stripped-down versions of production numbers in Bryant Park this summer (photo by Joan Marcus)

Bryant Park
40th to 42nd Sts. between Fifth & Sixth Aves.
Thursdays, July 6 to August 10, free, 12:30
bryantpark.org

The annual summer Broadway in Bryant Park series features stripped-down performances Thursday afternoons at 12:30 from numerous current and upcoming Broadway and off-Broadway musicals, offering a free sneak peek at shows that are lighting up the Great White Way and elsewhere. Below is the full schedule.

Thursday, July 6
STOMP, Groundhog Day, Wicked, The Phantom of the Opera, with the winner of Steinway’s Rising Star on Broadway Contest, hosted by Christine Nagy

Thursday, July 13
Kinky Boots, Beautiful: The Carole King Musical, School of Rock, Soulpepper on 42nd Street, with the Aruba Tourist Authority Carnival Dancers, hosted by Delilah

Thursday, July 20
Waitress, Chicago, Cats, Spamilton: An American Parody, hosted by Rich Kaminski

Thursday, July 27
A Bronx Tale, Anastasia: Home at Last, Avenue Q, The Imbible, hosted by Delilah

Thursday, August 3
Miss Saigon, Natasha, Pierre & the Great Comet of 1812, Broadway Dreams, with the Aruba Tourist Authority Carnival Dancers, hosted by Bob Bronson

Thursday, August 10
Come from Away, Charlie and the Chocolate Factory, Bandstand, Curvy Widow, with Brooke Shapiro, hosted by Helen Little

THE LITTLE FOXES

Laura Linney and Cynthia Nixon alternate roles as Regina and Birdie in MTC Broadway revival of Lillian Hellman’s The Little Foxes (photo by Joan Marcus)

Manhattan Theatre Club at the Samuel J. Friedman Theatre
261 West 47th St. between Broadway & Eighth Aves.
Tuesday – Sunday through July 2, $89-$179
littlefoxesbroadway.com
www.manhattantheatreclub.com

Daniel Sullivan’s Broadway revival of Lillian Hellman’s 1939 drawing-room classic, The Little Foxes, is exquisitely rendered in every detail in this gorgeous Manhattan Theatre Club production, continuing through July 2 at the Samuel J. Friedman Theatre. It’s an intricate tale of the business of family, and the family business, in the South in the spring of 1900, but it never feels old-fashioned or dated; instead it highlights the play’s freshness and relevance to today’s world. The conniving Hubbard clan — older brother Ben (Michael McKean), younger brother Oscar (Darren Goldstein), and sister Regina (portrayed alternately by Laura Linney and Cynthia Nixon) — are wining and dining Mr. Marshall (David Alford), a wealthy Chicago industrialist about to partner with Hubbard Sons in a cotton mill deal. “It’s very remarkable how you Southern aristocrats have kept together. Kept together and kept what belonged to you,” Mr. Marshall says. “You misunderstand, sir. Southern aristocrats have not kept together and have not kept what belonged to them,” Ben points out. “You don’t call this keeping what belongs to you?” Mr. Marshall asks, looking around the impressive room. “But we are not aristocrats. Our brother’s wife is the only one of us who belongs to the Southern aristocracy,” Ben explains, referring to Oscar’s wife, Birdie (alternately Nixon or Linney). In a classic new money/old money transaction, Oscar married the soft-spoken, timid Birdie for her bloodline and the family plantation, her beloved Lionnet. Once Lionnet and Birdie were both Hubbard property, he began beating and mistreating her, leading her to retreat into a haze of alcohol. Meanwhile, Oscar is grooming their bumbling, would-be-playboy son, Leo (Michael Benz), to join Hubbard Sons and to marry his first cousin, Alexandra (Francesca Carpanini), the teenage daughter of Regina and Horace (Richard Thomas). But to secure the deal with Mr. Marshall, Ben and Oscar need Horace, a seriously ill banker who has spent the past five months at Johns Hopkins, to contribute his share in the partnership; otherwise, they will have to bring in a stranger, something they are loathe to do. But Regina proves herself to be another shrewd Hubbard when she starts negotiating for her absent husband. Unable to execute the necessary partnership investment herself, Regina sends Alexandra to Maryland to bring back Horace, setting up an intense battle of wills over Union Pacific bonds owned by Horace, who just happens to be Leo’s boss at the bank. Watching everything unfold are the Hubbards’ servants, Addie (Caroline Stefanie Clay) and Cal (Charles Turner), who understand exactly what is going on as the post-Reconstruction South moves from its plantation slave agriculture economy to a mill-based industrial one — all the while keeping up its brutal foundation of labor exploitation. It all culminates in a spectacularly grand finale that is as wickedly funny as it is unpredictable.

talk family and business in The Little Foxes (photo by Joan Marcus)

Richard Thomas, Michael McKean, Darren Goldstein, and Michael Benz discuss family business in Daniel Sullivan’s Broadway revival of Lillian Hellman classic (photo by Joan Marcus)

A magnet for big stars, The Little Foxes was first presented on Broadway in 1939, with Tallulah Bankhead as Regina and Frank Conroy as Horace. William Wyler’s Oscar-nominated 1941 film starred Bette Davis as Regina, Herbert Marshall as Horace, and Teresa Wright as Alexandra. It was previously revived on Broadway in 1967 by Mike Nichols (with Anne Bancroft, Richard A. Dysart, E. G. Marshall, and George C. Scott), in 1981 by Austin Pendleton (with Elizabeth Taylor, Maureen Stapleton, and Anthony Zerbe), and in 1997 by Jack O’Brien (with Stockard Channing, Frances Conroy, and Brian Murray). The cast for the 2017 revival is simply brilliant: McKean (All the Way, Superior Donuts) is devilishly regal as the cigar-smoking, full-bearded Ben; Goldstein (Bloody Bloody Andrew Jackson, Abigail’s Party) is deliciously devious as Oscar, the least well mannered of the siblings; and Thomas (Incident at Vichy, You Can’t Take It with You) is explosive as Regina’s ailing, henpecked husband who has some tricks up his sleeve. But the play’s real power lays in the roles of Regina and Birdie, two very different women, each with their own strengths and flaws, representative of both the past and the future of their gender. At Linney’s suggestion, she and Nixon alternate playing Regina and Birdie; I saw it with four-time Emmy winner, three-time Oscar nominee, and four-time Tony nominee Linney (Time Stands Still, Sight Unseen) as Regina and Tony, Grammy, and Emmy winner Nixon (Rabbit Hole, Wit) as Birdie. The two women are magical together, Linney strong and determined as the duplicitous, calculating Regina, who wants a better life for herself no matter how it impacts the others, while Nixon is delightful as the unassuming, fragile, abused Birdie, who knows more than she is letting on. Scott Pask’s set is divine, with lovely period furniture, a Hazelton Brothers piano, lush drapery, and a shadowy, ominous staircase in the back, while Jane Greenwood’s costumes are utterly transcendent, the men’s tuxes bold and impressive, the women’s dresses luxuriously elegant and revealing of their inner being. Tony winner Sullivan (Rabbit Hole, Proof) directs with impeccable attention to detail; nary the smallest matter is overlooked, and the pacing is wonderful, with two well-timed intermissions over two and a half hours. “I could wait until next week. But I can’t wait until next week,” Ben says at one point, referring to Horace’s delay in contributing his share of the investment, but he just as well could be talking to those who are still contemplating whether to see the show. “I could but I can’t. Could and can’t. Well, I must go now,” he concludes. The Little Foxes must go on July 2; don’t miss it.

DRAMA DESK AWARDS 2017

Both Laura Linney and Cynthia Nixon of The Little Foxes are nominated for Drama Desk Awards, but in different categories (photo by Joan Marcus)

The Town Hall
123 West 43rd St. between Sixth & Seventh Aves.
Sunday, June 4, $64-$325, 8:00
dramadeskawards.com
www.thetownhall.org

Tickets are still available for the sixty-second annual Drama Desk Awards, honoring the best of theater June 4 at the Town Hall. Founded in 1949, the Drama Desk (of which I am a voting member) does not differentiate between Broadway, off Broadway, and off off Broadway; all shows that meet the minimum requirements are eligible. Thus, splashy, celebrity-driven productions can find themselves nominated against experimental shows that took place in an East Village gymnasium or a military armory. But that doesn’t mean there won’t be plenty of star power at the awards presentation. Among the nominees this year are Daniel Craig (Othello), Cate Blanchett (The Present,) Amy Ryan (Love, Love, Love), David Hyde Pierce (Hello, Dolly!), Laura Linney (The Little Foxes), Kevin Kline (Present Laughter), Cynthia Nixon (The Little Foxes), Nathan Lane (The Front Page), Bobby Cannavale (The Hairy Ape), and Bette Midler (Hello, Dolly!). Up for Outstanding Musical are Anastasia, The Band’s Visit, Come from Away, Hadestown, and The Lightning Thief, while vying for Outstanding Play are If I Forget, Indecent, A Life, Oslo, and Sweat. The Outstanding Revival of a Play nominees are The Front Page, The Hairy Ape, Jitney, The Little Foxes, “Master Harold” . . . and the Boys, and Picnic, while battling it out for Outstanding Revival of a Musical are Falsettos, Sweeney Todd: The Demon Barber of Fleet Street, Sweet Charity, Tick, Tick . . . BOOM!, and Hello, Dolly! The awards will be hosted again by Michael Urie (Ugly Betty, Buyer & Cellar), who is currently starring in the Red Bull Theater production of The Government Inspector, and will feature stripped-down, intimate performances from some nominated shows. Tickets start at $64 for the event; however, the $325 package, which gets you into the after-party, where you can mingle with the nominees, winners, and other stars, is sold out.

A DOLL’S HOUSE, PART 2

Golden Theatre
252 West 45th St. between Broadway & Eighth Ave.
Tuesday – Sunday through January 7, $39 – $147
dollshousepart2.com

It’s the most famous door slam in theatrical history and a symbolic touchstone of the women’s rights movement. At the end of Henrik Ibsen’s 1879 play, A Doll’s House, Nora Helmer declares her freedom and walks out on her banker husband, Torvald, and their three young children, in order to figure out who she is and what she wants out of life. In his book From Ibsen’s Workshop: Notes, Scenarios, and Drafts of the Modern Plays, Ibsen wrote of A Doll’s House: “A woman cannot be herself in the society of the present day, which is an exclusively masculine society, with laws framed by men and with a judicial system that judges feminine conduct from a masculine point of view.” Playwright Lucas Hnath delves deeper into those rules of conduct between men and women in his audacious, decidedly contemporary follow-up, A Doll’s House, Part 2. It’s also extremely intelligent and very, very funny, more than worthy of its title.

Hnath and director Sam Gold attack the story with relish, beginning with Miriam Beuther’s set, a large room with two high walls that meet at the back, while the front corner angles into the first few added rows; the feet of the audience members in the first row can actually reach under the stage. To the left is the door, big and brown and austere; a few chairs and a table are arranged around the room sparsely but neatly. A glowing yellow neon sign hangs from the ceiling, boldly announcing the name of the play, rising up and out of view shortly after the show starts, with a knock on the door; Nora (Laurie Metcalf) has returned. “Nora, I can’t believe it’s you!” proclaims an excited Ann Marie (Jane Houdyshell), the nanny who first raised Nora, then Nora’s children. “It’s good to see you,” Nora responds calmly, but she can’t wait to tell Ann Marie what she’s been up to these last fifteen years, during which she has had no contact whatsoever with anyone in the house. She proudly informs Ann Marie that she’s become a successful writer, using a pseudonym, publishing controversial books that argue against the institution of marriage and monogamy, which she calls “self-torture.” When Torvald (Chris Cooper) unexpectedly arrives, he doesn’t even recognize Nora. “Who’s your friend?” he asks Ann Marie before looking a little closer. “Are you . . . You aren’t . . . You are,” he says. “I am,” Nora responds. “I have to go to the bathroom,” Torvald declares, and leaves the room. It’s a scintillating exchange, 15 years in the making in the play itself, but 138 years since Ibsen first wrote Nora’s exit.

Ann Marie (Jane Houdyshell) and Nora (Laurie Metcalf) discuss responsibility and more in “sequel” to Ibsen classic (photo © Brigitte Lacombe)

The reason why Nora has returned is brilliant; she has not come back to explain herself to Torvald or to see how her children are doing. Avoiding all sentimentality, Nora explains that Torvald never filed the divorce papers, so she desperately needs him to finally sign them, which will at last legally set her free of all attachments, allow her to sign contracts on her own behalf, and save her reputation as an anti-marriage crusader — all the dilemmas that ensue from women’s lack of the rights that men enjoy. “I think it’s to be expected that a person would think that after I left this house and my husband and my children that I’d have a very difficult time,” she tells Ann Marie, who says, “The world is a hard place.” Nora adds, “So we’re trained to think. I mean, I think there’s something in our time and place and culture that teaches us to expect and even want for women who leave their families to be punished.” It’s a statement that wittily comments on the audience’s own expectations, displaying how inequality remains very much in force today; Nora might be flaunting her independence and her career triumphs, but she has not yet broken free of society’s rules, many of which have continued into the twenty-first century.

Over the course of the swiftly moving ninety-minute play, Nora goes one-on-one with each character, the next bout announced by a projection of that character’s name on the wall in huge sans-serif block letters by Peter Nigrini. The interactions are superbly staged, as Ann Marie gives Nora a piece of her mind, Torvald is not keen on granting her the divorce, and Emmy shows she has matured into a fine, albeit traditional, young woman. The dialogue in each scene is razor-sharp and unpredictable as Hnath (Red Speedo, The Christians) explores the age-old battle of the sexes with surprisingly modern language. In researching the project, Hnath sought advice from numerous feminist scholars, including Carol Gilligan, Elaine Showalter, Toril Moi, Susan Brantly, and Caroline Light, resulting in a play that never is condescending or didactic and instead is illuminating and wholly believable.

Mother (Laurie Metcalf) and daughter (Condola Rashad) meet for the first time in fifteen years in new play by Lucas Hnath (photo © Brigitte Lacombe)

The cast is divinely exquisite, all four earning Tony nods. Four-time Tony nominee Metcalf (The Other Place, Domesticated) is sensational as Nora, following in the door-slamming footsteps of Julie Harris, Claire Bloom, Jane Fonda, Dorothy McGuire, and Joan Crawford. Wearing a gorgeous art nouveau shirtwaist and ladies’ suit by costume designer David Zinn, she’s utterly magnetic as she moves around the stage, completely unafraid to face the realities of Nora’s situation, many of which she did not expect. Oscar winner and Tony and Emmy nominee Cooper (My House in Umbria, Adaptation.), last seen on Broadway in the short-lived 1980 drama Of the Fields, Lately, is gentle and understated as Torvald, who is not sure how to react when he abruptly has to confront something he has tried to put past him. Three-time Tony nominee Rashad (The Trip to Bountiful, Stick Fly) is adorably charming as Emmy, a confident woman who holds no grudges and has an infectiously positive view of life. And Tony and Obie winner Houdyshell (The Humans, Follies), who played the nurse to Rashad’s Juliet in David Leveaux’s 2013 Broadway version of Romeo and Juliet with Orlando Bloom, is, as always, a marvelous delight, holding nothing back as Ann Marie defends the choices she made and delivers the funniest, most direct, and totally un-Ibsen-like line of the play. Tony winner Gold (Fun Home, John) again proves he is one of the theater’s most inventive directors, allowing Hnath’s sparkling words to shine on a sparse but powerful set. One door closes; one door opens. Entrances and exits are the way of life, and the way of theater, and they come together beautifully in this electrifying and masterful production.