A Door That Never Closes…

On Wednesday 20 May, Lower Sixth English pupils travelled up to the Almeida Theatre in London to watch a modern adaptation of A Doll’s House. This bold production transformed Ibsen’s 19th century classic into a tense and unsettling exploration of power, marriage and economic dependence. 

The play follows Nora Helmer, a wife and mother who slowly realises she has spent her life controlled by the men around her-first her father and then her husband, Torvald. While the original play was set in the nineteenth century, this adaptation relocated the story to the present day, using modern language, costumes and references to create a world that felt instantly recognisable. Rather than making Nora seem unusual or dramatic, the production showed that her situation is still painfully common today. It highlighted the fact that A Doll’s House is not tragic because Nora is abnormal, but because she is ordinary as many women today still find themselves economically or emotionally trapped within relationships. 

The acting was one of the best aspects of the evening. Romola Garai gave a compelling performance as Nora, balancing exaggerated cheerfulness with growing desperation as the play progressed. Her gradual emotional breakdown felt completely believable, particularly in the final scenes where her confidence finally collapses. The acting style throughout the production was highly naturalistic where conversations interrupted each other awkwardly, jokes felt forced and moments of affection often became uncomfortable to watch. This realism made the characters feel less like distant literary figures and more like real people trapped in destructive relationships, keeping the idea of the Fourth Wall.  

The production design also contributed to the tense atmosphere. The set was minimal yet claustrophobic, with harsh lighting and sudden sound effects creating a sense of emotional instability. Modern props such as phones and alcohol reinforced the adaptation’s modern setting while also symbolising the characters’ attempts to maintain appearances. Even the music choices reflected this modernisation: just before the interval, many of us were amused to hear the satirical social media song “Man in Finance” playing through the theatre, as we recognised its commentary on wealth and gender expectations, while much of the older audience appeared slightly confused by our laughter. 

Perhaps the most surprising aspect of the performance was the ending. In the original play, Nora famously leaves her husband and children, ending with the iconic “door slam” that not only shocked 19th century audiences but caused widespread Protestant outrage when Nora “neglects [her] most sacred duties”. However, this adaptation denied the audience that moment of liberation. Nora remains trapped within the home, echoing the alternate ending Ibsen was once forced to write for German theatres that considered the original too controversial. This ending felt deliberately uncomfortable, suggesting that escaping social and economic pressures is often far more difficult than audiences might hope, especially when love for children is involved in the decision-making process. 

Alongside the unexpected opportunity to meet Benedict Cumberbatch after the curtain fell, what made the production so memorable was its ability to make a 150-year-old play feel urgent and relevant without losing the emotional complexity of the original. As Ibsen once wrote, “A woman cannot be herself in modern society,” and this adaptation suggested that statement may still hold profound truth today. 

By Milli Doshi in Lower Sixth