Children of Nora
How great is it, to slam the door behind you after a big fight? When Henrik Ibsen's play Nora (A doll's house) premiered in 1879, it was precisely this act that became the most famous final scene in stage literature. It meant the end of the relationship. However, it was ended by the woman, Nora, something that was absolutely unthinkable at the time. What did this choice do to her children? The iconic fight from Nora is (finally) being continued!
Duration 2 hours
Première 9 september 2020
Taal Dutch + English surtitles on thursdays
About the play
Robert Icke, the talent of the British stage, previously wrote and directed an entirely new version of Oedipus
for ITA, which was praised by both the press and the public. Now Icke is back with Children of Nora, the sequel to one of the most influential plays ever written: Nora (A dollhouse). In it, Nora leaves her husband after she realises that their relationship mainly consists of status and honour. Nora’s departure at the end of the play caused quite a stir at the time. It served as a major stimulus to the rise of the women’s movement. After all, the woman chose to be independent from the man. But how did this choice affect her children?
Robert Icke: ‘Everyone knows about the argument - the big argument, the ferocious, final argument, the one that ends the relationship. The one where the decision is made and somebody leaves and the door is slammed. Only, this door slam is the most famous door slam in dramatic literature. Its echo has reverberated down the ages - causing both controversy and celebration since A Doll’s House was first performed. Only Nora and Torvald, the protagonists of Ibsen's play have children. How do they feel? What happens to them after their mother leaves? Taking as its starting point the text of A Doll’s House, Children of Nora is about all the things we inherit which don't appear on the will.’
From 2020, Robert Icke is the Ibsen Artist in Residence at ITA and he is supported by the Philip Loubser Foundation. The Ibsen Artist in Residence supports artists with an international reputation, so that they can develop an intensive bond with ITA.
Robert Icke decided to become a playwright and director after he had been torn away from his PlayStation by his father as a teenager and saw a performance of Richard III, with Kenneth Branagh in the title role. Now – only 30 years old – he is regarded as a great young talent in British theatre. For some time now, he has been an associate director at the Almeida in London, the famous theatre that used to be led by Pierre Audi before he came to Amsterdam.
Hildegard Maria Bechtler (1951) is an award-winning designer based in London and working internationally. As well as Oedipus for the ITA ensemble, Hildegard has collaborated with director Robert Icke on the acclaimed Almeida Theatre productions of Hamlet, Mary Stuart and Oresteia (all of which transferred to London’s West End) and Uncle Vanya.