Lucas Hnath’s eight-time Tony-nominated play serves as both a playful sequel to Henrik Ibsen’s 1879 groundbreaking masterpiece as well as a stand-alone work of modern feminist drama.
Ibsen’s Nora Helmer was last seen literally and figuratively slamming the door on her life. When Hnath imagines Nora’s return 15 years later in Part 2, the same burning questions that Ibsen left unresolved in the 19th century are reignited. A modern perspective reminds us that Nora’s arguments about freedom, love, responsibility, and gender equality are just as controversial and relevant now as ever.
Lucas Hnath’s eight-time Tony-nominated play serves as both a playful sequel to Henrik Ibsen’s 1879 groundbreaking masterpiece as well as a stand-alone work of modern feminist drama.
Ibsen’s Nora Helmer was last seen literally and figuratively slamming the door on her life. When Hnath imagines Nora’s return 15 years later in Part 2, the same burning questions that Ibsen left unresolved in the 19th century are reignited. A modern perspective reminds us that Nora’s arguments about freedom, love, responsibility, and gender equality are just as controversial and relevant now as ever.
Lucas Hnath’s eight-time Tony-nominated play serves as both a playful sequel to Henrik Ibsen’s 1879 groundbreaking masterpiece as well as a stand-alone work of modern feminist drama.
Ibsen’s Nora Helmer was last seen literally and figuratively slamming the door on her life. When Hnath imagines Nora’s return 15 years later in Part 2, the same burning questions that Ibsen left unresolved in the 19th century are reignited. A modern perspective reminds us that Nora’s arguments about freedom, love, responsibility, and gender equality are just as controversial and relevant now as ever.