IRT: Homecoming brings hard questions in stand-alone ‘sequel’

By John Lyle Belden

Regarding “A Doll’s House, Part 2,” I must first note – as others have – that you absolutely do not have to have seen or read the original Henrik Ibsen play to appreciate this follow-up by American Lucas Hnath. I read it in college, and about all I remember about it is the essential fact that Nora feels her life is too suffocating to bear any longer, and at the end of the play she boldly exits through the front door to go live her own life.

That’s about all you need to know, and that in doing so she also abandoned her husband, Torvald, and their children – an ending nearly as shocking now as it was in 1879. These facts are thoroughly reviewed in the scenes of “A Doll’s House, Part 2,” the Broadway hit now on the main stage of the Indiana Repertory Theatre.

It is 15 years later (1894) and there is a knock at the front door of Torvald Helmer’s house. The housekeeper, Anne Marie (Kim Staunton), answers to find it is Nora (Tracy Michelle Arnold), who has lived a full and successful life in the intervening years. But suddenly Nora has the need to take care of unfinished business with Torvald (Nathan Hosner). Amid a whirlwind of emotion, he tells her the resolution of their business will not be so easy. Nora then turns to Emmy (Becca Brown), the daughter she hardly knows, who has her own feelings regarding women’s independence, as well as the reasons why no one will end this visit unscathed.

Needless to say, this is some intense drama, but punctuated with moments of situational humor. Hnath’s play also connects to us through the use of contemporary speech (appropriate, considering that to be “authentic” everything would have been said in Norwegian). Director James Still said that at various points the dialogue read like a lecture, so, often the actors would seem to speak directly to the audience. To aid this, the stage front appears to thrust forward towards the seats.

Thus do Nora, Torvald, Emmy and Anne Marie bridge the 125-year gap to show us the issues of gender and family they struggled with then, which are still not perfectly resolved now. What Nora could do as a single woman, contrasted with being married, reminds me of how it wasn’t that long ago that American women couldn’t open credit card accounts without their husbands’ signatures. And what a better future could be differs for each person – Nora ecstatically desires a 20th century where marriage is abolished; Emmy, preparing her own wedding, greets that notion with horror. And Torvald gives his side of the story, providing even more rich food for thought.

Performances are solid, from Hosner’s overwhelmed gentleman to Brown’s confident air, to the ever-shifting facade Arnold puts forward as events unfold. Staunton is the proud patience-wearing-thin mother figure, just wanting things to resolve as well as possible.

Don’t let the title dissuade you; this is no mere sequel. Performances run through April 7 at the IRT, 140 W. Washington St. in downtown Indianapolis (near Circle Centre). Call 317-635-5252 or visit irtlive.com.

IRT presents sweet ‘Raisin’

By John Lyle Belden

“What happens to a dream deferred?
Does it dry up
like a raisin in the sun?”
— From “Harlem” by Langston Hughes

It is the end of the 1950s, and postwar prosperity hasn’t quite reached the Black neighborhoods of Chicago. But for the Younger family, a windfall in the form of a life insurance check – a sad compensation for dreams deferred – brings hope of better times, better things. And every member of the family has ideas for how to invest or spend that money.

This sets up the plot of Lorraine Hansberry’s classic drama, “Raisin in the Sun,” on stage through Feb. 3 at the Indiana Repertory Theatre. The IRT’s high professional standards are reflected throughout this production, including director Timothy Douglas and his cast.

Chike Johnson is solid as Walter Lee Younger, who struggles with his need and expectation to be the man of the house. But it’s hard to stay a proud black man when your only way to make money is to drive white men around the city, at their beck and call. His frustration makes communication difficult with wife Ruth (Dorcas Sowunmi), who feels the strain of working as a cleaning woman on top of starting an unplanned pregnancy. She is also wary of Walter’s dreams of business schemes he works up with his drinking buddies. The latest, for which he wants the insurance money, is to start a liquor store.

But matriarch, and widow whose name is on the check, Lena Younger (played with sweet strength by Kim Staunton), doesn’t want her Christian witness tainted by financing such a business. She would rather see the money go towards putting daughter Beneatha (Stori Ayers) through medical school, as well as a down payment on a house for the whole family, especially Walter’s son (and Lena’s grandson) Travis (Lex Lumpkin).

Meanwhile, Beneatha’s college studies are opening her to the swiftly changing world of the era, and the overtures of two very different suitors. George (Jordan Bellow) is from a wealthy family, and sees keeping status as a black man of means through a rather conservative lens. But through Joseph (Elisha Lawson), a Nigerian student, Beneatha sees Africa and becomes fascinated with their ancestral culture. Ayers takes on her interesting and complex character with gusto, adding to the play’s sometimes dark humor. And she provides a great model for costumer Kara Harmon’s designs.

Supporting characters are played by D. Alexander, Dameon Cooper, and Paul Tavianini as the lone white role – a man with a rather interesting offer when the Youngers seek to move into an all-white neighborhood.

The struggle of people of color in America is an ever-present backdrop, even before the family comes face to face with thinly-veneered bigotry. We would like to argue that it’s a different country today – and to a fair degree, it is – but the attitudes in this drama do feel too familiar. And consider that Travis would be in his 60s today; this is not ancient history.

Scenic designer Tony Cisek’s stage emphasizes the oppressively crowded feel of the setting with stacks of old furniture for walls, a decaying ceiling overhead, and an endless maze of balconies and stairs surrounding the Youngers’ one-bedroom apartment, which doesn’t even have its own bathroom.

In all, IRT provides an excellent opportunity to revisit or discover this brilliant work. Don’t defer your chance to experience it. Performances are on the main stage at 140 W. Washington St., downtown Indy (by Circle Centre). Call 317-635-5252 or visit irtlive.com.