Elizabeth Freestone's direction, though fleet-footed and fluid, often sags where it should feel taut. It is an admirable piece of work, one delivered with full-blooded conviction...'
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Bold Ibsen reworking in which theory and practice don't quite mesh...The power of Ibsen’s original ideas is still there.'
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Stef Smith’s “radical” version of A Doll’s House ties itself in knots by trying to transplant the central character to three different periods...An ambitious idea...but one that in the end only sows confusion...'
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Though there's some fascination...it ends up being too clever for its own good, only sowing confusion instead of revealing fresh insights.'
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Stef Smith’s smart three-Nora Ibsen update spans 100 years and cleverly contrasting worlds of pain in this slick first revival.'
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Smith’s writing has a strong poetic style, a bold, bodily quality; it is full of ripples and echoes... Elizabeth Freestone’s production...is frustratingly restrained.'
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Ibsen diced, sliced and reinvented with poetic precision...Smith has not so much adapted Ibsen as exploded the original while adding a pacey intensity.'
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The mix of fine-grained detail and thumping obviousness persists throughout...This is a clever, pointed riff on Ibsen, but it could be much, much better.'
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