Orchestra/Front Mezzanine - $99
Rear Side Orchestra - $69
Mid-Mezzanine A-C - $89
Mid-Mezzanine D-E Center- $59
Mid-Mezzanine F Center, D-F Sides - $37
Rear Mezzanine - $29
Must order by 9/4/17. Regular price is $39-$147. Blackout dates may apply. All prices include a $2.00 facility fee. All sales are final. No refunds or exchanges. Offer may be revoked or modified at any time without notice. May not be combined with other offers. There is no late seating.
$99* ORCHESTRA & FRONT MEZZANINE
$29* REAR MEZZANINE
Must Order by 10/8/17. Regular prices are $39-$147. Blackout dates may apply. All prices include a $2.00 facility fee. All sales are final. No refunds or exchanges. Offer may be revoked or modified at any time without notice. May not be combined with other offers. Subject to availability and prior sale. Not valid on previously purchased tickets. Seating restrictions may apply. Telephone and Internet orders subject to standard Telecharge service fees. No late seating.
"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
"The strength of Hnath's drama is in its ability to get us to sympathize with all four of his characters, a power very much amplified by the excellent performances of this cast. Henderson is especially persuasive as Torvald...Wilhelmi's Emma has inherited her mother's smile and unflappable penchant for selling a crazy scheme...Houdyshell's performance has grown more delicious and hilarious with age...White is as indefatigable as her character." 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
"Gold's invigorating production showcases four stellar performances. Metcalf is a master of drawing out comedy that's firmly anchored in realism...Houdyshell's Anne Marie is a dry and stoic presence that deflates Nora's pride in her accomplishments by pointing out the reality she never sees, and Rashad effectively conveys the maturity of a young woman forced to grow up early...This is a play that will no doubt provoke discussion." 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
"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
"The new cast...pretty much seals the deal on the play’s extraordinary merits...The new actors advance Hnath’s whirling arguments about love and ownership with as much ease as the original cast, and even greater humor...The result of all these macro- and micro-tunings is a production that feels even more thriller-like in its swiftness...'A Doll's House, Part 2' remains a triumph of ambivalent feminist comedy. It’s the kind of play you hope won’t end." Full Review
"Hnath has now found himself by parsing and filling in a story he didn’t write...To go from dreaming about Nora’s life to writing it required a leap of faith—an author’s faith in his own imagination—and that’s the kind of energy that jumps out at you from Hnath’s play, his strongest yet...It was thrilling to feel that the writer and the director weren’t condescending to us and assumed we’d keep up. We do, because Nora matters to us and will always matter to us." Full Review
"The playwright’s every nuance continues to waft across the footlights...White...instantly establishes mastery of the role...Henderson’s Torvald is practically somnambulant until the brisk play’s final scene, when he is roused like an uncaged—and magnificent—bear...Wilhelmi’s Emmy is quite clearly and believably Nora’s daughter, and they make a fierce pair when they tangle...Full credit goes to director Gold, not only for his initial work but for the integration of this marvelous new cast." Full Review
"As long as Metcalf and Houdyshell command the stage, armed with Hnath's mordant dialogue, 'A Doll's House, Part 2,' looks like a play that is going places...But Torvald isn't an equal partner at all, dramatically speaking, and Cooper often seems a little overwhelmed by his leading lady...Gold's direction finds every available laugh and bit of insight in Hnath's script; even when it begins to disappoint, there's a baseline level of professionalism below which this production never drops." 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
"Hnath wisely builds on Ibsen’s premise but is not enslaved by it…This is so much more than a sequel, it’s a gripping examination of the ways people try to live together under a restrictive society and what happens when they fail…Sam Gold’s measured direction injects just the right amount of humor to leaven this living-room war…Laurie Metcalf is a strikingly complex Nora…Hnath expands on a classic and provides his own insights into the issues it raised over 100 years ago." 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 stupendous creation in nearly every way…Metcalf is beyond brilliant…Before you can put up a defense, these characters are there putting down roots in your head and your heart. Sam Gold’s direction pulls these extraordinary cast members together into an ensemble that summons the Spirits of the Small Moments to the table to create a banquet. This is a feast all around. 'A Doll’s House Part 2' is a reminder of why theatre–or art itself–is, at its best, a life-altering experience.” Full Review
"White is—perhaps surprisingly—more vulnerable than Metcalf...Wilhelmi chooses a less razor-sharp and yet more poignant angle on the daughter that Nora left behind...The great Stephen McKinley Henderson—always so likable even when being a scoundrel—makes you wonder why Nora left him at all...A second visit confirms this is a major play that can and will be staged again and again, finding new insights with new cast members and new approaches to the material." Full Review
"Unquestionably one of the wittiest, sharpest shows of 2017...A great play given a great production...Spiced with just the right dash of modern language, this is a tour de force of ideas as a trailblazer examines the scorched earth she left behind and is asked if it was worth the price...Like any great play of ideas, 'A Doll’s House, Part 2' works precisely because those ideas flow through characters that are deeply human. The cast is excellent." Full Review
“'A Doll's House, Part 2' is entertaining, frequently funny, and quite thoughtful; it's also often unconvincing. There are times it produces the impression of having been forged by a playwright noting the choices made by a gathering of four gifted actors who've been asked to improvise plausible backstories...It's occasionally hoist by its own cleverness…Anything with Laurie Metcalf is worth seeing; to have her onstage throughout this play's…90 minutes is alone worth the price of admission.” 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
"A poorly crafted play—I can’t remember when I last sat through a lumpier exposition—that is not a risky challenge to established belief but a collective celebration of an article of firmly settled faith. 'Part 2' is tensionless...Cooper's three co-stars are outstanding, but they’re all well-known quantities on Broadway. Not so Mr. Cooper, who has plenty of stage experience but hasn’t appeared in a play since 1985. Let’s hope he works his discreet magic again soon—preferably in a better show." 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
"Hnath is markedly adept at allowing each of his characters to be outspoken and sympathetic...Nothing of the play’s suasion and humor has been lost with the cast changes under Gold’s smart direction. No comparisons are necessary. Suffice it to say that had Julie White opened when the play did, it could very well have been she who won this year’s Tony." 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
“Metcalf is over the top, playing this narcissistic woman to the hilt. It is clear she is enjoying playing this role, but I would have liked to see some subtlety...Cooper gives us the longing of a man who is clueless as to why his love is never enough. Our hearts break for him…I kept wanting to know why was the house so bare, Gold did however in this case bring out terrific performances. Hnath is a talented writer and his script is biting, sarcastic and like a whip.” Full Review
See it if You enjoy creative takes on older shows. You enjoy period pieces brilliantly addressing contemporary feminist themes.
Don't see it if The historical-modern comparisons will go over your head.
See it if you want to see a contemporary play riffing on an old classic, if you like dialogue heavy plays, or if you're interested in relationships
Don't see it if you'll be bored by people talking for 90 minutes
See it if you want to see Laurie Metcalf in full form, giving essentially a one-woman performance.
Don't see it if you're looking for much else. The writing is bad, the staging pretentious and pointless, and some of the other actors are phoning it in.
See it if you enjoy a fast-moving drama with humorous elements and wide ranging-perspectives on social issues such as marriage and female equality.
Don't see it if you're uncomfortable with strong women or are not open-minded on subjects such as marital relationships, female equality, and motherhood.
See it if you've wondered what happened to Ibsen's Nora after she walked out on her family & want to see a fresh, original take on Ibsen's characters.
Don't see it if you aren't interested in hearing from one of NY theatre's most innovative new voices, Lucas Hnath; otherwise, there's no reason to miss it.
See it if I have no context of the original play but it really didn't matter. This is an actor driven piece. Strong characters. No intermission.
Don't see it if I found it to be a bit exhausting to watch at times. Long winded monologues.
See it if you like to imagine what occurred to a character in a story years later. A great take on what happened to Nora.
Don't see it if you want lots of characters, sets filled with unnecessary props and language that makes you think.
See it if You like well acted well written plays with a healthy dose of humor. You like themes around strains of a family reunited. Saw Dolls House 1
Don't see it if You are looking for a musical
See it if You want to see a clever riff on a classic or enjoy dynamic performers at the top of their game in a stylish production
Don't see it if You want to see Ibsen, hate talk, want plot and hate character driven dialogue
See it if you enjoy masterful acting,that leave one with lots to think about after laughing a lot. Moments when the audience is absolutely silent.
Don't see it if want a lot of visual trappings. One of the starkest sets I've seen.
See it if you want to see great acting and a follow up to a classic play. Creative and clever. Not necessary, but helpful if you know the original.
Don't see it if you do not like fast paced dialogue without intermission.
See it if see it whether you saw the original or not. a few anachronisms make the play a bit more tongue and cheek for the late 19th century
Don't see it if won't be able to bear watching a somewhat selfish woman's growth (and lack thereof) after walking out on her family 15 years earlier
See it if you want to see the replacement cast which is even better than the first; you like taut dramas with some humor and some nifty twists.
Don't see it if you don't enjoy a 90 minute play, somewhat intense, with no intermission
See it if Julie White takes a broader approach to the role that gave Laura Metcalf her well deserved Tony this year. A very funny play about Life.
Don't see it if Giving a smart performance, Condola Rashād was, for me, the best surprise of last Broadway season. Her replacement, Erin Wilhelmi, is not...
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