Booked & Scene

SouthStage Theatre Works took on Henrik Ibsen’s A Doll’s House, directed by Brenny O’Brien, a play first performed in 1879 that continues to challenge audiences with its sharp look at marriage, gender roles, and the price of independence. The story follows Nora Helmer, who begins the play as the seemingly cheerful and carefree wife of Torvald. But as secrets unravel, Nora is forced to confront her own identity, her marriage, and ultimately the sacrifices she’s made for others. It’s a heavy lift for any company, and an especially bold choice for an ensemble of actors all under 18.

The Spark That Lit the Stage

Naia Doczi as Nora Helmer was the shining star of this production. Onstage for nearly the entire hour and 45 minutes, she carried the show with poise and energy. From her playful charm to her moments of raw panic, Naia guided the audience through Nora’s highs and lows with striking maturity. Her manic meltdown as a distraction tactic was especially memorable, showing her wide emotional range. It’s clear she has a long future in theater ahead of her.

Not Just Dolls in the House

Jeaon Lafleur’s Doctor Rank was a highlight, bringing humor and a touch of melancholy to a character who embodies society’s fragility at the end of life. Isiah Smith as Torvald balanced charm and arrogance with moments of genuine rage, creating a strong counterpart to Naia’s Nora. Gerald Hamelin’s Nils Krogstad leaned fully into the role of antagonist—his presence was so unlikable in the best way that it heightened the tension every time he appeared. Playing a villain convincingly is no easy feat, and Gerald nailed it.

Clever Touches, Big Impact

SouthStage deserves credit for small touches that added depth to the production. The program’s line describing the setting as “A perfect home in a perfect world at the perfect time” was clever and set the tone. Nora’s wig and costumes were gorgeous, fit perfectly and enhanced her transformation. And a special nod to the company itself: this performance began right on time, which shows real growth and professionalism from a young ensemble who are learning what it means to respect their audience’s experience.

The Facade Starts to Splinter

The biggest challenge here was consistency in tone. The play’s language kept us firmly in Ibsen’s 19th-century world, while some movements, costumes, and accessories such as Apple watches, Nike’s,  and chipped, bright nail polish leaned more modern. That mix sometimes blurred the sense of when and where the story was happening. Lighting, too, was ambitious but occasionally tricky. The heartbeat and dreamlike effects for Nora’s inner world were powerful, but at times bled into full dialogue scenes, leaving certain actors, especially Krogstad, partially hidden in shadows or dark spots on stage. These are the kinds of creative swings that show a company unafraid to push boundaries, something to be applauded even if it isn’t perfect. 

The Next Generation Takes a Bow

Director Brenny O’Brien’s vision for a pre-professional intensive is ambitious and inspiring. To take on a play as complex as A Doll’s House with high school students is no small task, and the results show just how much talent this ensemble holds. With Naia Doczi leading the way, and a company that’s growing sharper with every show, SouthStage Theatre Works is clearly building something special. The young cast should walk away proud of what they achieved onstage this summer.