Director Jamie Lloyd's minimalistic production of “A Doll’s House” opened at Broadway’s Hudson Theatre on March 9th. Originally written in Norwegian by Henrik Ibsen, the play features an inherently female-driven narrative — but this production, an English translation by American playwright Amy Herzog, is the play’s first adaptation by a woman. Herzog condenses “A Doll’s House” into a 105-minute intermission-less tour de force that centers its main protagonist Nora Helmer, played by Academy Award-winning actress Jessica Chastain, in a way that is almost reminiscent of a one-woman show.

A doll in a music box, Chastain slowly spins round and round. The actress is motionless as she sits on a dark turntable in the middle of the New York City stage, while audience members are slowly trickling in. One by one, Chastain is joined by her fellow cast members. The set is bare and the grim ambiance palpable. This show does not rely on stereotypical Broadway glamor. Stripped away from any possible distractions, Tony-nominated Lloyd and Obie-winning playwright Amy Herzog self-reportedly set out to break down the play to its most quintessential questions of human agency, gender bias, and the contrast of love and deception.

The production centers on Nora Helmer as the audience views the world through Nora’s eyes and witnesses her relationship and friendships exclusively from her perspective. While Nora is traditionally seen as a noble victim of male manipulation rather than an active participant in her own tragedy, in this production, Herzog highlights the ways the protagonist plays an active part in building her surrounding world which ultimately traps her, commemorating both social dynamics and gender stereotypes. Oddly, it is empowering that Nora’s life is not merely happening to her; she is neither naive nor oblivious to her surroundings or circumstances. Nora is not a victim, she is a human being.

Lloyd demands a lot of his actors — and yet so little. The production features no props, barely any costumes, and limited movement. When the actors discussed the act of smoking a cigar, the mere dialogue sufficed. The same holds for the famous last scene in which Nora and Torvald return their wedding rings. It was satisfying that the lack of props was not curtailed with exuberant gestures but instead shifted the audience’s attention away from the physical objects to deeper meaning. At first the absence of props caused slight confusion, but eventually it succeeded in highlighting the importance of the spoken word. Due to Lloyd’s generally spectacular directing, the few less than ideal directorial choices stuck out. Especially striking was the staging of Nora’s dance, which Chastain performed while sitting on a chair. Chastain’s serious demeanor paired with her committed delivery kept the scene from becoming a comedic bit — nevertheless, the reasoning behind this odd directorial choice is unclear. Whatever Lloyd wanted to achieve did not work.

Apart from little mishaps, Lloyd’s direction remains crystal clear and powerful, successfully putting a new spin on an old theater classic. The casting perfectly underlines the production needs. Chastain, despite being a Juilliard graduate, is primarily known for her on-screen work. Her delivery shines in its subtlety and honesty, perfectly complementing the minimalist setup of the show. Chastain’s performance is the backbone of the show. Shows rarely rely so heavily on the talent of its main actor and thankfully, Chastain delivers a masterclass in acting and endurance. Taking on an iconic role is no easy feat, but Chastain masters the challenge; her nuanced portrayal of Nora showcases a fundamental understanding of the character which will enrich and inspire how theatermakers and audiences understand and perceive Nora Helmer in the future.

Arian Moayed’s portrayal of Torvald Helmer perfectly embraces his close-mindedness as well as his controlling and manipulative personality. Moayed delivers the pivotal scene in which Torvald discovers his wife’s lies powerfully, perfectly tracing the arc from anger to fear and belated compassion without relying on aggressive violence or screams. When he cursed at his wife, saying “you bitch,” the delivery carried a shocking sense of disgust and hatred. The rest of the cast complements both Chastain’s and Moayed’s performances beautifully; especially striking is Michael Patrick Thornton’s heartfelt portrayal of Dr. Rank. Even when faced with death, Thornton’s Dr. Rank never quite loses his love and compassion, making his scenes with Chastain one of the highlights of the show.

“A Doll’s House” is a well-rounded standout rendition of a theater classic that particularly shines in its stellar casting. The show is undoubtedly one of the best plays on Broadway right now. The must-see production runs through June 10 at the Hudson Theatre in New York City.

— Staff writer Amelie Julicher can be reached at amelie.julicher@thecrimson.com.