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Directed by René Copeland and starring Cheryl White, Galen Fott, Corrie Green and Rona Carter, Nashville Repertory Theatre’s presentation of A Doll’s House, Part 2 is currently on stage at TPAC’s Johnson Theatre thru November 3. While Nashville Rep’s production marks the play’s regional premiere, playwright Lucas Hnath’s sequel to Henrik Ibsen’s classic debuted on Broadway starring Laurie Metcalf just last year.

Making Nashville Rep’s regional premiere run even more special, the women of the cast will stick around following this Saturday’s October 27 7:30p.m. performance as they are joined by Nashville businesswomen Bonnie Dow, Lucia Folk, Jill McMillan and Joelle Phillips for a special post-show talkback, Women Talk Back, during which the audience will have an opportunity to pose questions as the cast and special guests discuss feminism as it relates to Ibsen and Hnath’s characters from the 1800s and today.

In anticipation of the special Women Talk Back event and the show’s ongoing run, I recently had an opportunity to chat with the entire cast of A Doll’s House, Part 2…including the show’s lone male star…as well as Copeland, who’s not only directing the show, but who is also Nashville Rep’s longtime Producing Artistic Director, for the latest installment in my recurring interview feature, Rapid Fire 20 Q.

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RAPID FIRE WITH RENÉ COPELAND, DIRECTOR OF ‘A DOLL’S HOUSE, PART 2’

JHP: From a director’s standpoint, what attracted you to A Doll’s House, Part 2?

RENÉ COPELAND: This play fires on several cylinders for me.  I love good dialogue, and in this play the dialogue is smart and funny, and has a unique tone to it—it is a sequel to a play set in the late 1800’s, yet it uses contemporary vernacular so it sounds incredibly modern.  On the page the dialogue is sort of mapped out like free verse poetry, so working with the actors to unlock the code, like a musician unlocks the code of a music score, is great fun.  It’s hard and also fun. I also appreciate the particular sense of humor in the play, and I always love a play that will use humor to explore provocative ideas.  I like plays that make you laugh AND think, so that when you leave the theatre you feel really energized. And this play is very demanding of both me and the actors, which I like.  I think theatre artists working on this play really have to work at the top of their game—each character is textured and complicated and each scene is crafted to work a certain way that you have to shape very carefully.  And then, as a woman I am of course interested in the question of how we balance our lives between the things we do for those we love and the things we do for ourselves—what is expected of us culturally and what we expect of ourselves. The questions posed by this play are completely about now.

JHP: Let’s play a little word association. Using only a single word, how would you describe each of your cast members in regard to their character portrayal in A Doll’s House, Part 2?

RENÉ COPELAND:

Cheryl as Nora—stunning; Galen as Torvald—compelling; Rona as Anne Marie—irresistible; Corrie as Emmy—intriguing

JHP: From rehearsals to now, is there a theme, scene or ideal in the play that’s come to more prominence that you’d originally thought when you took on the project?

RENÉ COPELAND: Nora tells a story near the end of the play about how difficult it is to hear your own voice, after a lifetime of not making a decision without wondering what “he” would think. Cheryl’s way of telling this story has moved it way beyond words on a page and it has come to have special meaning to me.

JHP: What can you tell me about the talkbacks scheduled to follow certain performances during the run?

RENÉ COPELAND: I love Talkbacks for any show, but this show is particularly conversation-inducing. If you come on a talkback night and stick around for a few minutes to chat with us, I know you’ll be glad you did.  You are going to have a lively conversation about this play in the car on the way home anyway, so why not stick around and have that conversation with us, the director and the actors?  Plus it’s really great for us to get a chance to hear real time feedback—it makes us all better at our jobs.  So talkbacks actually contribute to the artistic process. It’s very informal and it usually ends up being a fun sharing session, with plenty of behind-the-scenes insight and gossip along with serious exploration of ideas.

RAPID FIRE WITH CHERYL WHITE, NORA IN ‘A DOLL’S HOUSE, PART 2’

JHP: In the fifteen years that has passed between the story depicted in Henrik Ibsen’s original and Lucas Hnath’s A Doll’s House, Part 2, has A) Nora changed, or B) simply cultivated characteristics that were already present?

CHERYL WHITE: I’m going to pick C) All of the Above!  Nora is now worldly, no longer naive about the workings of society.  She is self-reliant and passionate.  She found her voice at the end of Ibsen’s play and has nurtured it and it now sustains her.  She perhaps has more work to do to understand the ramifications of her newfound freedom on those she left behind.  And when thrust into an old environment with old relationships, she definitely stumbles into some old pitfalls!

JHP: Taking place in the late 1800’s requires period-costumes. What can you tell me about Nora’s  wardrobe, designed by Trish Clark?

CHERYL WHITE: One of the truly exciting aspects of this play is that the costumes and set reflect the period, but the dialogue and physicality (especially for Nora) are contemporary.  So even though I wear a corset and numerous heavy layers (petticoats and over-skirts and such), I strive to speak and move as a contemporary woman.  Not only does the wardrobe inform how I move, it also functions as a tangible obstacle for Nora and as a metaphor for the societal constraints she rails against.

JHP: Much of the play revolves around confrontation between Nora and those she left behind fifteen years prior. How do you prepare yourself for those heated scenes?

CHERYL WHITE: Each of the four characters in this play has a lot to lose.  Their personal stakes are high.    So it’s imperative that I really listen to what’s being said to Nora, that I never lose sight of what I, as Nora, need to win, and finally, that I breathe deeply.  Because when Nora let’s go, she really let’s go!!

JHP: What has surprised you most about this play?

CHERYL WHITE: That I agree with all four characters in the play.  Their viewpoints are wildly divergent, and yet I find everything they say to be true and valuable.

RAPID FIRE WITH GALEN FOTT, TORVALD IN ‘A DOLL’S HOUSE, PART 2’

JHP: What can you tell me about Torvald?

GALEN FOTT: Judging only from Ibsen’s play (or “Part 1”, as we call it!), I think you might say that Torvald is a stifling, controlling, chauvinistic coward. But it’s also true that he is simply playing out the role that is expected of him by the paternalistic society of 1870s Norway. Then Nora walks out, and suddenly he’s a single father of three (albeit with a nanny-in-residence). But Nora’s leaving shook Torvald to the core. Now let’s flash forward to “Part 2”, where we meet him again 15 years later. I think it’s clear that Torvald has been “working on himself” in the intervening years, trying to figure out what happened, trying to work out what’s right and wrong, what’s fair and unfair. There are moments in “Part 2” when “old Torvald” reemerges, but he’s at least trying to evolve.

JHP: While Torvald is perceived as a successful businessman in Ibsen’s work. Nora having left him in the original piece definitely had its affect on him. As an actor, how have you found a balance in playing an outwardly strong man dealing with that inner brokenness?

GALEN FOTT: In this play, we see almost exclusively the private, “broken” side of Torvald. However, I do relish my first 30 seconds onstage, before Torvald realizes Nora has returned. For that half-minute, it feels like Torvald is in a completely different play from everyone else, a mundane tale of a banker who has dashed back home to retrieve some papers he forgot. Little does he know…

JHP: To some purist, the entire notion of a Part 2 to Ibsen’s classic might, at first, seem audacious at best. What is it about playwright Luca Hnath’s continuation that completely lives up to the iconic original?

GALEN FOTT: While Hnath’s play is written completely in the modern vernacular, there’s nothing anachronistic or “cheeky” whatsoever about the story and ideas. Hnath addresses all the same issues that Ibsen raised, and does so with complete fairness and seriousness. (Not that the play isn’t very funny at times!) And much of Hnath’s writing, particularly Nora’s gorgeous final monologue, I wouldn’t hesitate to call “worthy of Ibsen”.

JHP: In the conclusion of the original, Nora walks out on Torvald and their three children. In Part 2, the cast is made up of yourself, Cheryl White as Nora, Rona Carter as Anne Marie, the family Nanny and Corrie Green as Torvald and Nora’s daughter, Emmy. I gotta know…Do we find out what happened to the other two children?

GALEN FOTT: Well…not so much. Ivar and Bob would be around 22 and 20, respectively. From what Emmy says about them, it sounds like Bob is a bit emotionally unstable, but Ivar is “the opposite of Bob in every way”. And that’s all we learn! I think “Part 3” needs to focus entirely on poor Bob, don’t you?

RAPID FIRE WITH CORRIE GREEN, EMMY IN ‘A DOLL’S HOUSE, PART 2’

JHP: You play Emmy, one of Nora and Torvald’s three children she abandoned as depicted in the final scene of Henrik Ibsen’s original. Part 2 picks up fifteen years later. In finding your voice for Emmy, did you imagine certain mother/daughter circumstances that she missed that might have molded her current fiber?

CORRIE GREEN: I think in my approach of the character the whole concept of becoming a woman without your mother was something I was drawn to. Certainly there are thousands of moments daughters spend with their mothers that shape who they are emotionally. That being said the idea that Nora was absent for Emmy’s first crush, first boyfriend, first fight with a close friend, becoming a woman, etc. were moments that I knew going into my preparation that had to have shaped Emmy. I didn’t think that they were moments that would fuel a dislike for Nora, however it made me think of who those moments were left to and all of those things were left to Torvald. We know from the text, both A Doll’s House, and A Doll’s House Pt.2 , that Torvald is not someone who is going to be extremely emotionally nurturing when it comes to his children. Thus approaching Emmy became a balance of figuring out what emotional support, and representation did she have growing up and how does that effect her. Certainly you will find that Emmy is simple in her emotions towards people and that she has no “animosity” towards Nora, but in order to understand that I had to imagine growing up without the emotional support of a mother.

JHP: In a scene from the play, Emmy confronts her mother, Nora, about having been left with her father and siblings. She says something like, “I think in a lot of ways things turned out better because you weren’t around.” Why do you think Emmy feels that growing up without her mother was to her advantage?

CORRIE GREEN: So on the positive side of growing up without a lot of emotional support is this idea that Emmy grows up intellectually much faster than the average kid. I think this is because of the fact that she had to learn everything sort of on her own. So she develops this strength in doing things herself, and finding things out for herself that wouldn’t have happened had she not found out about what happened to her mother. I think Emmy feels she has conquered the dark truths of the world because of the fact that she copes with problems intellectually and not emotionally. She doesn’t allow things to defeat her like her peers, and I think this is something Emmy prides herself on.

JHP: On the flip side, what negative affect, if any, did being raised by Torvald alone have on Emmy?

CORRIE GREEN: I think that one of the downsides is the idea that Emmy has on how to communicate with people, and primarily the sort of emotional numbness she has towards various things. I think a lot of this has to do with the fact that Emmy was raise viewing the post-Nora Torvald. That Torvald didn’t tell her anything about her mother, didn’t keep any of her mothers things, is known via Ibsen’s play to believe that the raising of children should be left to the mother, the depression that overcomes him post-Nora that numbs him to the idea of ever loving again. All of these characteristics result in a child who is brought up to become emotional but only on the surface, and to sort of have some wiring issues when it comes to her ideas on the world. Not having a mother around and only being raised by a father who believed in the norms of the time means that in a way Emmy wasn’t nurtured. Which I think comes across on the stage in various ways during her interaction with her mother. One of which being in the way she chooses to address her father as “Torvald”, which isn’t a very friendly, family driven address for ones dad.

JHP: Often, you hear about actors avoiding each other backstage or during off-time to aide in the believability of their onstage tension. With so much of A Doll’s House, Part 2’s interaction being confrontational, has that been the case for you and your cast mates, or is there a sense of family among you, in spite of the intense action on stage?

CORRIE GREEN: Oh no, I think the cast has formed a family of sorts. I don’t know what I would do if they weren’t so kind and willing to help me transition into Nashville and into the life as a working Actor. As someone, who just graduated and is from a different state, the fact that everyone was willing to take me under their wing including Rene and our tech crew was extremely comforting! Although, we don’t get to see Galen much before the show because all of us ladies are getting ready for the show in our dressing room, and he has to spend pre-show in his own dressing room by himself because he is the only guy. What a problem to have. But other than that we are all kind to each other, we talk with each other, and I love them all dearly. Its a great cast with all around good vibes!

RAPID FIRE WITH RONA CARTER, ANNE MARIE IN ‘A DOLL’S HOUSE, PART 2’

JHP: What does the audience need to know about Anne Marie?

RONA CARTER: That she’s loyal. Loving. And has had to deal with a lot in her lifetime. And, if there were a phone in those days you could pick it up call her and she’d be there in a heartbeat to help.

JHP: Early on in the play, upon Nora’s unexpected return, as Anne Marie, your greeting to her isn’t exactly what you’d call warm. That gives the audience an immediate sense of Anne Marie’s take-no-guff character. How much fun is that to play?

RONA CARTER: Rona is personally not like Anne-Marie at all. So it’s a lot of fun to play a character like that and, to some audiences it’s hilarious and others it seems a bit disconcerting because of our sentimentality. One of my first lines is you got a little fatter and you got a little older. Just telling it like it is.

JHP: Nashville Rep has a reputation for presenting some of the most gorgeous sets around town, courtesy of set designer, Gary Hoff. What can you tell me about the set of A Doll’s House, Part 2?

RONA CARTER: Gary always creates the  most wonderful environments to play on as an actor. This one is beautiful and has an element I’ve not seen in any others that he’s created. It has a raked stage which means it starts at stage level at the front and works up to 2 feet in the back, so it’s tilted. It’s very presentational and it’s a struggle for the characters to work in that environment. Just as we struggle in life with all her questions in relationships. And, just like the Kleenex box from the 2000s on the stage it gives one the element of something very unique at play here.

JHP: With so much of the play focusing on Nora’s actions in the first and their subsequent affects on her and the family, what do you think audiences will take away from the show?

RONA CARTER: Every audience members going to have a different view on all four characters I think. This is one of the few plays I know of that I’ve been in where you’re going to see a clear cut view from each of the four characters in this play. Each having a strong reason for doing and being who they are. And it could be any of these audience members in part or in whole. And I think people have long discussions about their relationships with others. Marriages. Dating. Loving.

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Audiences will indeed have their chance to peek inside A Doll’s House, Part 2 as the show continues through Saturday, November 3 with performances Friday, October 26 at 7:30p.m., Saturday, October 27 at 2:30p.m. & 7:30p.m., Wednesday & Thursday, October 31 & November 1 at 6:30p.m., Friday, November 2 at 7:30p.m. and Saturday, November 3 at 2:30p.m. & 7:30p.m. Tickets range in price from $25 to $52.50. CLICK HERE for tickets or more information. For further details about Saturday, October 27’s special Talkback, Women Talk Back following the 7:30p.m. performance, CLICK HERE. For more about Nashville Rep, CLICK HERE to check out their site, or follow them on Facebook, Instagram and Twitter.

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