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iPhoto caption: Hailey Gillis and Gray Powell in 'A Doll's House.' Photo by Dahlia Katz.
REVIEW: Canadian Stage’s A Doll’s House weighs the burden of our inherited roles
Hailey Gillis' Nora is not so much a doll as she is a gifted actor, reeling through daffy comedy, seductive calculation, and suicidal ideation with ease.
iPhoto caption: Brendan Healy in rehearsal for 'A Doll's House.' Photo by Dahlia Katz.
Canadian Stage’s A Doll’s House marks the second entry in a trilogy of productions about marriage
“At 50, thinking about marriage and love, and [their] place in my life, I wanted to do an artistic deep-dive into the idea of partnership,” says director Brendan Healy.
iPhoto caption: Design rendering for 'A Doll's House,' set designed by Gillian Gallow and directed by Brendan Healy for Canadian Stage.
In Canadian Stage’s A Doll’s House, the house is a window within
“It is more about how Nora feels inside the space,” says set and costume designer Gillian Gallow. “It's also that difference between house and home — the house is the object, but the home is actually the feeling.”
iPhoto caption: Gabriella Sundar Singh as Anitra and Qasim Khan as Peter in 'Gnit.' Photo by Michael Cooper.
REVIEW: Shaw Festival’s wayward Gnit is an existential riff on Ibsen
Will Eno's Gnit hopscotches between tones, frequently counterpointing detailed, character-driven dialogue with metatheatrical winks to the audience. Curiously, though, Carroll’s production doesn’t make similar swerves.