Jessie Taylor as Nora and Mike Perez as her husband Torvald in the FSU/Asolo Conservatory production of Ingmar Bergman's "Nora," based on "A Doll's House." FRANK ATURA PHOTO/ASOLO CONSERVATORY
The characters look familiar, and so are the settings and situations, but you may not recognize Henrik Ibsen’s “A Doll’s House” within Ingmar Bergman’s stripped down adaptation called “Nora,” which opened Wednesday at the FSU/Asolo Conservatory.
That may be a good thing, depending on your view of Ibsen’s 1879 drama featuring one of the earliest feminists on stage. The Conservatory production is certainly compelling and involving.
Bergman strips away all the trappings (and several of the characters) from Ibsen that got in the way of his perspective on this world-famous story about a wife who decides to finally stand up for herself and leave her husband and children to figure out who she is.
You still hear a door slamming at the end of “Nora,” but the character’s motivations are a little less clear, especially with the emotional pleas of her husband, Tovald, to forgive his recent outburst against her and stay for him and their children.
Jessie Taylor has the title role in Ingmar Bergman's "Nora," a modern adaptation of Henrik Ibsen's "A Doll's House" at the FSU/Asolo Conservatory. FRANK ATURA PHOTO/ASOLO CONSERVATORY
Nora’s decision in the Bergman version almost comes out of nowhere rather than through the slow build of realization that she’s in a loveless marriage and needs an escape. And you begin to wonder if it’s the right decision because Bergman gives Torvald more to do and more of a backbone. And in Mike Perez’s performance he’s a mostly charming, loving and supportive husband, who, like most people, occasionally says the wrong thing without thinking first.
The production staged by Andrei Malaev-Babel moves briskly through the plot, with some oddities along the way, like the outside characters who suddenly appear in the Helmers’ living room without knocking or an announcement. (You get used to it quickly.)
As Nora, Jessie Taylor is appealing if confusing. She changes attitude and personality from moment to moment, depending on who she’s with, adding fuel to the idea that she does need to figure herself out. But she’s charming, flirtatious and deeply impacted by Torvald’s harsh words.
Jessie Taylor, right, as Nora Helmer, and Danielle Renella as her longtime friend Christine Linde in "Nora" at the FSU/Asolo Conservatory. FRANK ATURA PHOTO/ASOLO CONSERVATORY
Jacob Sherburne is sweet-natured as Dr. Rank, the family friend who really cares too much for Nora for his own good. As Nora’s long-time but now desperate friend Christine Linde, Danielle Rennella has an intentionally dour and curt demeanor. She’s all business, which emphasizes the silliness of the spoiled Nora’s concerns early on. Rob Glauz as Nils Krogstad, the usual villain, could provide a little more menace at times, though he captures the essence of a man desperately trying to hold on to some semblance of balance.
Derek Miller’s plain living room set features a powerful set of stairs and windows rising above. Becki Leigh’s costumes are attractive and appropriate and Chris McVicker’s lighting shifts with the changing moods of the story.
And the mood changes frequently from devil-may-care to the devil-will pay, which helps keep you involved even if you might question the change of tradition and focus.
THEATER REVIEW
"NORA"
By Ingmar Bergman, adapted from Henrik Ibsen's "A Doll's House." Directed by Andrei Malaev-Babel. Reviewed April 13. FSU/Asolo Conservatory at the Cook Theatre in the FSU Center for the Performing Arts, 5555 N. Tamiami Trail, Sarasota. Through May 1. 941-351-8000; asolorep.org
