This meaty text is an absolute treat for the cast. Noma Dumezweni is a powerhouse Nora. If not quite as earth-shattering as the original, Hnath’s play still asks big, existential questions ...This blistering drama is just the beginning: the conversation will run and run. Ibsen would surely approve.
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The dialogue sizzles, and no word is wasted. The stage-stealer is Dumezweni, whose presence is mesmerising and whose voice has an impact all on its own. This is an invigorating production ... Definitely a doll’s house that’s worth stepping into.
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You could argue that the climax doesn't quite deliver the anticipated pay-off and that the narrative contortions carry on a beat too far. [Dumezweni 's] performance is a standout that is likely to register, and resonate, for some considerable while to come.
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If ‘A Doll’s House, Part 2’ has an obvious weakness it’s that Hnath’s determination to not appear to revise Ibsen’s story leads to some slightly weird plot beats ... [but] Hnath’s play is a razor-sharp [and] frequently hilarious.
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The beauty of Hnath’s account, which was seen on Broadway in 2017, is that it honours the validity and modernity of Nora’s desertion. Noma Dumezweni is magnificent. Essential viewing.
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The plot doesn't make sense. I kept wondering what this play would have been like if it had been written by a woman ... As it is, everything seems equivocal. It's an interesting evening, but not a satisfying one.
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Lucas Hnath’s sequel ... is closer to a thought experiment than a fully engaging piece of theatre. But it’s an intriguing piece all the same. June Watson is excellent as the faithful Anne Marie.
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Noma Dumezweni is a compelling lead ... But there is something a little too controlled about Hnath’s play, as if the characters are being held up for careful study but never quite let off their leash.
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