Next in my Daily Book Excerpt:
Next on my script shelf:
A Doll’s House
A couple personal things about this play:
1. I saw a production of this at the Abbey Theatre in Dublin, when I was 14 years old. The woman playing Nora was so spectacular that I still remember some of her blocking and her costumes, like a little movie in my mind. Especially the scene where she dances the tarantella, more and more frantically, trying to stop her husband from going to the mailbox. This Irish actress was beyond good. Her fear and panic carried off the stage – it was palpable.
2. James Joyce idolized Henrik Ibsen. He wrote: “It may be questioned whether any man has held so firm an empire over the thinking world in modern times.” Joyce learned Norwegian in college, specifically so that he could read Ibsen in the original. When Joyce met the woman who would be his future wife, Nora Barnacle, he thought it was fate … because one of Ibsen’s most famous heroines was named Nora.
3. This is one of those plays I’ve probably read about 30 times. First: because you have to read it in English classes, and any Introduction to Drama course is incomplete without some Ibsen – and they usually choose Doll House for the curriculum. Also, I’ve worked on scenes and monologues from the play for years. And lastly: it’s a good read. Never fails to STRESS ME OUT. It’s an upsetting piece of work – because the people are trapped. We here in the modern society can look at the characters and feel like we have some answers for them (and we do) – but they don’t have access to that yet. They are all trapped. And lying not only to each other but to themselves. It’s very upsetting.
4. Hands down, the best production I have ever seen of this was actually a televised version of it … starring Juliet Stevenson as Nora. She is so damn good. So damn good.
EXCERPT FROM A Doll’s House
NORA. (absorbed in trimming the tree) Candles here — and flowers here. That terrible creature! Talk, talk, talk! There’s nothing to it at all. The tree’s going to be lovely. I’ll do anything to please you, Torvald. I’ll sing for you, dance for you —
(Helmer comes in from the hall, with a sheaf of papers under his arm)
NORA. Oh! You’re back so soon?
HELMER. Yes. Has anyone been here?
NORA. Here? No.
HELMER. That’s odd. I saw Krogstad leaving the front door.
NORA. So? Oh yes, that’s true. Krogstad was here a moment.
HELMER. Nora, I can see by your face that he’s been here, begging you to put in a good word for him.
NORA. Yes.
HELMER. And it was supposed to seem like your own idea? You were to hide it from me that he’d been here. He asked you that too, didn’t he?
NORA. Yes, Torvald, but —
HELMER. Nora, Nora, and you could fall for that? Talk with that sort of person and promise him anything? And then in the bargain, tell me an untruth.
NORA. An untruth –?
HELMER. Didn’t you say that no one had been here? (wagging his finger) My little songbird must never do that again. A songbird needs a clean beak to warble with. No false notes. (putting his arm about her waist) That’s the way it should be, isn’t it? Yes, I’m sure of it. (releasing her) And so, enough of that. (sitting by the stove) Ah, how snug and cozy it is here. (leafing among his papers)
NORA. (busy with the tree, after a short pause) Torvald!
HELMER. Yes.
NORA. I’m so much looking forward to the Stenborgs’ costume party, day after tomorrow.
HELMER. And I can’t wait to see what you’ll surprise me with.
NORA. Oh, that stupid business!
HELMER. What?
NORA. I can’t find anything that’s right. Everything seems so ridiculous, so inane.
HELMER. So my little Nora’s come to that recognition?
NORA. (going behind his chair, her arms resting on its back) Are you very busy, Torvald?
HELMER. Oh —
NORA. What papers are those?
HELMER. Bank matters.
NORA. Already?
HELMER. I’ve gotten full authority from the retiring management to make all necessary changes in personnel and procedure. I’ll need Christmas week for that. I want to have everything in order by New Year’s.
NORA. So that was the reason this poor Krogstad —
HELMER. Hm.
NORA. (still leaning on the chair and slowly stroking the nape of his neck) If you weren’t so very busy, I would have asked you an enormous favor, Torvald.
HELMER. Let’s hear. What is it?
NORA. You know, there isn’t anyone who has your good taste — and I want so much to look well at the costume party. Torvald, couldn’t you take over and decide what I should be and plan my costume?
HELMER. Ah, is my stubborn little creature calling for a lifeguard?
NORA. Yes, Torvald, I can’t get anywhere without your help.
HELMER. All right — I’ll think it over. We’ll hit on something.
NORA. Oh, how sweet of you. (goes to the tree again. Pause.) Aren’t the red flowers pretty –? But tell me, was it really such a crime that this Krogstad committed?
HELMER. Forgery. Do you have any idea what that means?
NORA. Couldn’t he have done it out of need?
HELMER. Yes, or thoughtlessness, like so many others. I’m not so heartless that I’d condemn a man categorically for just one mistake.
NORA. No, of course not, Torvald.
HELMER. Plenty of men have redeemed themselves by openly confessing their crimes and taking their punishment.
NORA. Punishment –?
HELMER. But now Krogstad didn’t go that way. He got himself out by sharp practices, and that’s the real cause of his moral breakdown.
NORA. Do you really think that would–?
HELMER. Just imagine how a man with that sort of guilt in him has to lie and cheat and deceive on all sides, has to wear a mask even with the nearest and dearest he has, even with his own wife and children. And with the children, Nora — that’s where it’s most horrible.
NORA. Why?
HELMER. Because that kind of atmosphere of lies infects the whole life of a home. Every breath the children take in is filled with the germs of something degenerate.
NORA. (coming closer behind him) Are you sure of that?
HELMER. Oh, I’ve seen it often enough as a lawyer. Almost everyone who goes bad early in life has a mother who’s a chronic liar.
NORA. Why just — the mother?
HELMER. It’s usually the mother’s influence that’s dominant, but the father’s works in the same way, of course. Every lawyer is quite familiar with it. And still this Krogstad’s been going home year in, year out, poisoning his own children with lies and pretense; that’s why I call him morally lost. (reaching his hands out towards her) So my sweet little Nora must promise me never to plead his cause. Your hand on it. Come, come, what’s this? Give me your hand. There, now. All settled. I can tell you it’d be impossible for me to work alongside of him. I literally feel physically revolted when I’m anywhere near such a person.
NORA. (withdraws her hand and goes to the other side of the Christmas tree) How hot it is here! And I’ve got so much to do.
HELMER (getting up and gathering his papers Yes, and I have to think about getting some of these read through before dinner. I’ll think about your costume, too. And something to hang on the tree in gilt paper, I may even see about that. (putting his hand on her head) Oh you, my darling little songbird. (He goes into his study and closes the door after him)
NORA. (softly, after a silence) Oh really! It isn’t so. It’s impossible. It must be impossible.
ANNE-MARIE. (in the doorway, left) The children are begging so hard to come in to Mama.
NORA. No, no, no, don’t let them in to me! You stay with them, Anne-Marie.
ANNE-MARIE. Of course, ma’am. (closes the door)
NORA. (pale with terror) Hurt my children — ! Poison my home? (A moment’s pause, then she tosses her head.) That’s not true. Never. Never in all the world.
