Doll's House, A

A longtime expatriate, Ibsen knew that you had to travel far and suffer much to find true happiness. In Theater Charlotte's production of A Doll's House, we slowly discern that Nora Helmer has suffered much from her husband -- almost always unknowingly. Diligently seeking Torvald's favor, with admirable discretion and coquettish craft, she has never stopped to ask whether he was worth it. In the classic turning point, Ibsen skillfully reveals the contempt behind Torvald's condescension. Torvald is blissfully unaware that he has crossed the line when he denounces Nora's rash sacrifice to save his life. He is even more blissful when he forgives her, magnanimously welcoming her back to the protection of his enfolding wings. We see the bourgeois pomposity, the hypocrisy, the arrogance, and the conceit so clearly. And so does Nora. Now she must travel far from this household, far from even her own children, to find herself and her chance at happiness.

Performed with the appropriate brio, it can be a stunning turnaround that makes us want to stand and cheer. Unfortunately, director Daina Giesler attracts only one dynamic performer for the two plum roles here. Missy Thibodeaux sparkles as Nora in the early going, flitting about in her birdcage with a spoiled, high-strung agitation that never loses its appeal. Thibodeaux's vivacity is all the more remarkable because she sustains it in the face of a wooden performance from Joe Copley as Torvald that rarely rises to the realm of acting.

The supporting cast is just as hit-and-miss. Jennifer Keddy has some fine moments, ably demonstrating Ibsen's point that women are more indulgent than men, but Tom Ollis is altogether too loud and nasty as the villainous Krogstad -- a cunning sliminess would be less irritating. As usual, Giesler makes no mistakes and gets the most from her uneven cast.