Get alerts about your favorite artists and theater companies
"A smart, funny and utterly engrossing new play...Features a magnificent Laurie Metcalf leading one of the best casts in town...Mr. Hnath approaches what might seem like a hubristic project with the humility and avidity of an engaged Everyreader...He has written an endlessly open debate. Which for the record never feels like a debate, such is the emotional commitment of the cast and the immediacy of Mr. Gold’s fine, sensitive production." Full Review
"So endlessly stimulating that it could give audiences fodder for heated conversation until the fall season is in full swing...Hnath’s play fairly sets your head spinning with its knotty perspectives...With a sterling cast led by Metcalf, the production is as much an engrossing entertainment as it is a theatrical treatise that stirs the heart even as it invigorates the mind...Metcalf here delivers what is easily her finest Broadway performance to date—and she has never been less than terrific." Full Review
"A leap that pays off in delightful and often hilarious ways...Hnath raises deeper questions not just about a certain brand of feminism, but the cult of individualism that is so ingrained in modern society...Director Sam Gold has led everyone in this cast to thoughtful and revelatory performances in an appealingly clean production...Hnath refracts Ibsen through the prism of contemporary life, revealing the complicated spectrum of issues that always existed within the drama." Full Review
"Helmer Sam Gold knows his players and right from this first scene pairs them in a series of close encounters that feel like fierce, if friendly wrestling matches...Hnath’s dialogue, slangy and vulgar and brightly idiomatic, is full of zingers...Metcalf is amazing, uncovering so many facets to Nora, while retaining the humor to laugh at her idiocies. But by now, we’re starting to suspect that this isn’t really a play, but a very funny and quite biting manifesto...Nora wins every verbal battle." Full Review
"With Lucas Hnath’s lucid and absorbing 'A Doll’s House, Part 2,' the Broadway season goes out with a bang...Modern in its language, mordant in its humor and suspenseful in its plotting, the play judiciously balances conflicting ideas about freedom, love and responsibility. And Sam Gold’s exemplary direction keeps you hanging on each turn of argument and twist of knife. Everything about the production works. It’s a slam dunk." Full Review
"Hnath’s play is less a conventional sequel than a thought experiment inspired by the original...Hnath writes fast, vibrant dialogue and while Gold inserts a few postmodern touches, he mostly pushes the actors onstage and has them talk things over with hustle and vigor. The performers are excellent, particularly Metcalf...The play succeeds far better as a vivid and playful philosophical exercise than as a character-driven drama...This shouldn’t put ticket buyers off." Full Review
"A clever, surprisingly amusing and thought-provoking new play performed to winning effect by a quartet of first-rate actors...The main pleasures in 'A Doll’s House, Part 2,' are rooted in the chance to watch four accomplished performers...Gold puts the actors’ performances front and center, often literally." Full Review
"A funny and insightful new play...Although this play could easily have been little more than a schematic continuation of Ibsen's themes, Hnath is more interested in twisting the familiar than regurgitating it...Gold's penchant for subtle emotions, and pointing up the natural ironies that often exist between them, is ideal for this group of people...Gold has done what he does best and amplified every characterization that the excellent cast members have provided him." Full Review
"The play resembles a 90-minute sketch comedy adapted from an undergraduate essay dissecting Ibsen’s play...Director Sam Gold provides a spare production with spirited performances from the four-member cast...As a theater history buff, I found the play interesting, but hardly as engrossing and muscular as Hnath’s work from last season. I look forward to seeing more plays by Hnath — but hopefully not more sequels." Full Review
"It delivers explosive laughs while also posing thoughtful questions...Directed with stylish austerity by Sam Gold, the play provides a corker of a role for the indomitable Laurie Metcalf...As much an ingenious elaboration and deconstruction of 'A Doll's House' as a sequel, and it stands perfectly well on its own...In Gold's zesty staging, the lightness of touch in the writing carries through to the direction and performances, nowhere more so than with Metcalf." Full Review
"As directed by the inerrant Sam Gold, Hnath’s play is at its core a public forum on questions of marriage that still bedevil us...Hnath provides enough ingenious structure to allow 'A Doll’s House, Part 2' to function quite smoothly as an often hilarious puzzle drama...Hnath is not using the preexisting characters and their backstory as ways of avoiding having to create something original; rather, they are springboards to something very new indeed...A great feminist comedy." Full Review
"Hnath’s compact and provocative comedy...It's his best work to date...The issues aren't new but presented in intriguing ways...Metcalf, a seasoned stage vet who's known for the sitcom 'Roseanne,' can clown with the best of them. Just saying the word 'no,' Metcalf’s face is an avalanche of motion...Nora was—and is—a woman who bends and breaks rules and lives by her own terms. Fifteen years later, everything and nothing has changed." Full Review
"The funniest, and the sharpest play of the year...Hnath’s inspired writing, which endows each character with an arsenal of fastballs, curveballs and spitballs, keeping us disarmingly off-balance. He’s an uncommonly gifted parodist...Sam Gold’s smashing production renders the action, such as it is, and the dialogue slightly off-kilter as these once intimate people tiptoe through a dream in which everyone gets even and nobody wins." Full Review
"Hnath has created a fascinating and frequently very funny little play that is less about the issues raised in 'A Doll's House,' and more about returning to greet your former responsibilities...The other takeaway of this quite compelling little exercise is that acts of revolution can flow from privilege...This really is a multilayered performance: you can see Ibsen's Nora herein, plus the woman Nora became and the compassionate cracks in her armor. And Rashad rises up to meet her." Full Review
"The play — a psychologically serious, deliciously amusing tragicomedy — extends Ibsen’s three-act, multicharacter masterwork with just four characters in an intense but surprisingly breezy 90 minutes. But how trenchantly these four are portrayed in director Sam Gold’s stark, audacious, daringly acted production...Hnath lets no one off the hook about women, the law and marriage. He also keeps us guessing until the last possible moment." Full Review
"The highest praise you can give Hnath is that he should now write a sequel to 'Streetcar'...A major miracle of Sam Gold’s direction is that each of actor comes from his or her own individual space to do battle. And that conflict of styles galvanizes the play...Hnath keeps defying our expectations...These fine actors’ very different approaches to their roles are what Hnath’s script calls for. That they rub together to produce such humor and warmth is the achievement of a master director." Full Review
"Nora damaged a lot of people when she left home at the end of Ibsen’s 'A Doll’s House.' Roughly a century and a half later, playwright Lucas Hnath is mining that pain for comic gold in a star-studded sequel (of sorts)...Metcalf's marvelous as a woman naturally good at wheedling and manipulating...Cooper exudes a rueful, self-aware depth that keeps us sympathizing with him...We can only imagine what fun Hnath had cooking up a story about how Nora reaped what he, at least, thinks she sowed." Full Review
"Funny and thoroughly engaging...Cooper doesn’t manage to rise to the same level as these other two women who command the stage...Metcalf is as incredible as can be. Her body language and stance is fascinating, being modern and old fashioned all at the same time...It resonates far and wide about love and marriage; attachment and parenting; responsibilities to family and to self. It’s a fun piece of playful writing, not too deep but it does carry a healthy dose of profoundness. " Full Review
"A bright (in all senses of the word), albeit slight 90-minute play that cleverly follows up on some of Ibsen’s themes about marriage and equality. Better yet, the seemingly tireless Sam Gold has directed a beautifully chosen four-person cast that brings out both the work’s layers and its levity...It’s partly Metcalf’s generosity to her fellow performers that makes the production work as well as it does; she’s a star who has no interest in a star turn." Full Review
"A neat little play...Hnath's compact drama offers no easy answers in a superb production that asks a lot of provocative questions...Hnath's stylized take on the Ibsen classic brings the institution of marriage into sharp focus...Gold shrewdly allows the words to take center stage, amplified by some spectacular acting...Metcalf dazzles...Don't expect any judgments here as this very smart play only seems interested in opening the door wide to your own interpretation." Full Review
"Nora’s back after all, looking wealthy and confident and, in Metcalf’s captivating turn, still bristling with righteous anger over the plight of the women of her time...This fast-moving play could so easily have lapsed into superficial theater games. This never occurs...'A Doll’s House, Part 2' demonstrates just how imposing is that big doorway Nora walked through once upon a time, and the guts it takes to keep walking through it, again and again." Full Review
"Hnath's play is almost a well-made play (keeping fidelity of time and location), save for a brief time lapse between scenes in the middle of the play...This is a minor quibble, of course, and does not take away from the quality of the play. The young and promising Hnath wrote an incredibly compelling play, bringing a modern sensibility and vernacular to this dusty classic...The play belongs to Laurie Metcalf, who absolutely commands the stage." Full Review
"Lucas Hnath has written one of the year’s best plays...Gold’s direction isn’t always precisely calibrated, but Laurie Metcalf redeems the production with her sorcery...I can’t think of many performers capable of Metcalf’s fearless extremes. The agility of her acting, the way she can reverse course while making it seem like she’s simply following the logic of her character, is a marvel. Her performance in Hnath’s smart play is one of the headier pleasures of this Broadway season." Full Review
"My first thought as I experienced this brilliant play is that it is too good for Broadway, which is sadder for Broadway than for the play...One of the fascinating aspects of the play and the simple but effective production by the ubiquitous Sam Gold is the confluence of past and present...Unlike 'Sweat,' which will probably win all the awards, 'A Doll's House, Part 2,' is never preachy. It never falls into melodrama. It deserved the cheering it got at the performance I attended." Full Review
"A very modern look at marriage, identity, and the role of man and woman in- and outside of the home...This is all accomplished with lots of laugh-out-loud humor combined with thoroughly believable character development. The production is near perfect. Laurie Metcalf gives a fully dimensioned performance...Sam Gold’s direction is clear and smart...But the real star of this production is Hnath’s script. Rarely is something from the past made so present." Full Review
See it if you are interested in a modern work inspired by a classic story. Very funny with great writing performed excellently.
Don't see it if you aren't familiar with the original work. Some jokes are references to Ibsen's play.
See it if you like clever writing and will be entertained (or saddened) with the inevitable comparison to the state of affairs for women today.
Don't see it if You are expecting a plot-driven piece of theater.
See it if you like a show with strong acting, you enjoyed the source material, you like sequels
Don't see it if you need amazingly original dialogue, you do not like the idea of updating the outcome of a classic play
See it if you always wondered what Noah did after she left her kids and husband, had many thoughts ,debates in your head to rationalize why she left.
Don't see it if You don't appreciate writing at its finest, want to watch inspired performances by a truly talented cast, with nuances to each of their role
See it if A selfish wife who left her kids and husband and came back after 15 years which you think would be slight drama but hilarious.
Don't see it if You want real family drama because it's not!
See it if you like seasoned veteran actors who are at the peak of their form in a laugh-out-loud series of surprising confrontations.
Don't see it if you expect an exact representation of what would have 20 years later, in language and tone.
See it if You want to see a master performance from every single member of the cast...you like to watch absolute brilliance in action
Don't see it if You absolutely hated the original...you get bored without spectacle
See it if you are intrigued to find out what happened after Nora closed the door, you like small, single set dramas that also have humor
Don't see it if you don't care for updated classic theater, you want a laugh riot comedy
See it if You enjoy dialogue intensive shows with cleverly crafted themes around marriage and society.
Don't see it if You need more visual stimulation than a pretty bare, one set stage and for a period piece, the gratuitious F bombs seem oddly out of place.
See it if You want to see Laurie Metcalf in a role that shows off her full, incredible range. And a play that is funny, thoughtful, and entertaining.
Don't see it if You don't like "idea" plays or monologues on the same theme. It's a strong show, but structurally a bit ham-fisted.
See it if You are an Ibsen fan. Like good writing and even better acting. Want you see one of the best new plays in the city.
Don't see it if You don't like witty and thoughtful dialogue..
Also Run, don't walk. This is TERRIFIC!
See it if You like plays that explore different feelings towards the concept of marriage and relationships.
Don't see it if You don't enjoy plays with a small cast and a minimal set. Or if you don't like profanity.
See it if You want a modern take on themes from a classic play that still resonate today. You want great acting, & a smart, well-edited script.
Don't see it if You have no familiarity w/ "A Doll's House". You want a play that deals more directly w/current issues & themes.
See it if Want to see Laurie metcalf on stage for the entire play and a strong supporting cast
Don't see it if Can sit thru a lot of dialogue or have short attention span
See it if you wonder what happened to Nora: in the span of the century she became quite the feminist; you want to see a great ensemble performance.
Don't see it if you dislike profanity or want this to be in the same vein as Ibsen. While the original was a good jumpoff point, parts are quite a leap away
See it if you want to see a cleverly written, surprisingly funny and thought-provoking play, anchored by acting heavy-weights dueling their butts off.
Don't see it if you don't like bare stages. But if you can get over that, get a ticket at the Golden Theater. The words and the acting are all you need.
See it if you love great actors bringing sharp wit and focus to material that builds a bridge between classic and modern theater. Spot on staging.
Don't see it if you prefer ornate sets or adherence to period drama. This is not your father's Doll's House...
See it if you want to see terrific performances by four actors at the top of their game in a reasonably clever thought experiment
Don't see it if you prefer plays with real characterizations and plot arcs vs. philosophical back-and-forths in lieu of real drama
See it if you want to see L. Metcalf, J. Houdyshell, C. Cooper & C. Rashad give solid performances despite working with an awful script.
Don't see it if you enjoy plays that don't feel completely self-indulgent. This play feels like Hnath just wanted a way to say marriage is terrible.