![]() ![]() The Helmer children, Ivar, Bob, and Emmy are mentioned, they are played with and chided-but they are not seen. The characters say they are doing things, but they are just speaking to each other. When characters put on dresses, have parties, freak out over letters, and-most infamously in Nora’s case-slam the door on the family home, there are none of those things. Those final moments are in stark contrast to the main body of the play. ![]() It is, right now anyway, the best ending of any show on Broadway. Hold out for the visual OMG of the dénouement. ![]() And wow, the final seconds of A Doll’s House conveying Nora’s liberation are stunningly realized-in theatrical terms epic, while also silently, fabulously melodramatic. The play begins sharply, with the spinning at an end, and Chastain as Nora Helmer taking on husband Torvald (Arian Moayed) on the subject of money, the all-consuming catalyst for what leads to Nora’s infamous break for freedom at the play’s climax, finally fed up of being coddled, patronized, and confined as a wife and mother. Slowly, other characters in this modern adaptation of Ibsen’s 1879 play A Doll’s House (booking through June 10)-adapted by Amy Herzog, and directed by Jamie Lloyd-sit on seats on the stage, like satellites of Chastain, as she continues to spin. She gazes out at the Broadway audience impassively, a ghost of a smile on her face, dressed in modern, modish black. Round and round the Oscar-winning actor goes. On the Hudson Theatre’s bare stage, Jessica Chastain is sitting on a chair, revolving on a spinning section of it. ![]()
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