A DOLL'S HOUSE PART 2
Set and Costume Design
Company
The Street Theatre
Playwright
Lucas Hnath
Direction
Caroline Stacey
Lighting Design
Gerry Corcoran
Sound Design
Kyle Sheedy
Cast
Rachel Berger
PJ Williams
Camilla Blunden
Lily Constantine
Photos
Shelly Higgs
Year
2019
Stacey’s productions at the Street Theatre continue to offer professional excellence, and this intriguing and thought provoking staging of Hnath’s fascinating and absorbing insight into Henrik Ibsen’s A Doll’s House is no exception
Peter Wilkins
Canberra Critics Circle
[Read more]
Imogen Keen has costumed the characters in handsome period costumes, although her striking setting is sparse and determinedly modernistic, dominated by two huge windows framing silhouetted figures – their backs to each other. The actors emerge and retreat through vomitoriums on either side of the stage, emphasising the gladiatorial aspects of the play
Bill Stephens
Australian Arts Review
[Read more]
Stacey’s productions at the Street Theatre continue to offer professional excellence, and this intriguing and thought provoking staging of Hnath’s fascinating and absorbing insight into Henrik Ibsen’s A Doll’s House is no exception
Peter Wilkins
Canberra Critics Circle
[Read more]
Imogen Keen has costumed the characters in handsome period costumes, although her striking setting is sparse and determinedly modernistic, dominated by two huge windows framing silhouetted figures – their backs to each other. The actors emerge and retreat through vomitoriums on either side of the stage, emphasising the gladiatorial aspects of the play
Bill Stephens
Australian Arts Review
[Read more]
Stacey’s productions at the Street Theatre continue to offer professional excellence, and this intriguing and thought provoking staging of Hnath’s fascinating and absorbing insight into Henrik Ibsen’s A Doll’s House is no exception
Peter Wilkins
Canberra Critics Circle
[Read more]
Imogen Keen has costumed the characters in handsome period costumes, although her striking setting is sparse and determinedly modernistic, dominated by two huge windows framing silhouetted figures – their backs to each other. The actors emerge and retreat through vomitoriums on either side of the stage, emphasising the gladiatorial aspects of the play
Bill Stephens
Australian Arts Review
[Read more]