A Doll's House Review – Ibsen Reimagined for the Klarna Era
London's Almeida Theatre is currently hosting Anya Reiss's modernised adaptation of Henrik Ibsen's feminist classic, A Doll's House. This production, set in the contemporary world of investment banking and consumerism, transforms the original narrative into a story of coke-fuelled greed and degradation, reflecting the excesses of the Klarna era.
Staging and Setting
The stage is cluttered with glossy shopping bags from brands like Selfridges, Hamley's, and Lego, while an improbably large Christmas tree is swathed in retail plastic. Amidst this opulence, a married couple, portrayed by Romola Garai and Tom Mothersdale, grapple with their own feckless extravagance, using sex as a tool to navigate their crumbling lives. Reiss, known for her sharp critiques of upper-middle-class family life since her debut at the Royal Court at age 17, expertly captures the nastier side of modern affluence.
Character Portrayals
Romola Garai delivers a stellar performance as Nora, an impulsive and loving mother addicted to Instagram, who broadcasts an enviable life of wealth and happiness. However, the reality is far uglier: her husband Torvald, played by a tormented Tom Mothersdale, is a cocaine addict whose past threatens to leave them penniless, while their children are often ignored in their rented, white-walled palace. Despite Garai's efforts to inject warmth, this Nora remains somewhat underwritten and unlikable, particularly in the final scenes where her awakening feels unconvincing.
Thematic Shifts
Reiss's adaptation shifts the focus from Ibsen's critique of patriarchal constructs to a hammer blow against the capitalist system. In the original, Nora's naivety leads her to forge a signature for her husband's medical treatment, highlighting women's powerlessness. Here, Nora is university-educated and willingly bends rules, with James Corrigan's greasily unpleasant Nils Krogstad helping her "borrow" nearly a million from an oil-rich client's account. She dismisses it as "just numbers on a screen," showcasing a maddening vagueness about privilege.
Supporting Characters and Dynamics
Thalissa Teixeira as Christine and Oliver Huband as Dr Rank add depth, with Nora's flirtations nearly descending into a festive threesome, yet they cannot bring themselves to hate her. Joe Hill-Gibbins' staging is provocative and fun, but it sometimes lacks the emotional depth needed to balance honouring Ibsen's structure with demolishing it entirely.
Critique and Conclusion
This production raises questions about modern playwrights toying with sellable existing texts rather than creating new ones. While it offers a compelling critique of capitalism and greed, it struggles to deliver the great moment of awakening that makes A Doll's House so beloved. A Doll's House runs at the Almeida Theatre until 23 May 2026, presenting a thought-provoking but flawed reimagining for today's audience.
