Ibsens Nora (of A Dolls House fame) has been transported into modern times, remade into the wife of a high profile businessman, which in turn makes her a tabloid target on the society pages. Here, we follow her as she returns from one of her extravagant shopping trips. Her day is interrupted by a barrage of phone calls and a visit from an old dear friend. One of the phone calls, however, is from someone she had hoped she would never hear from again.
Nora is joined on stage at all times by an interpretive dancer whose presence can be viewed as anything from her inner demons to a physical version of her past, always peering over her shoulder. It is an interesting touch that allows for a break between the sometimes monotonous monologues, but at other times seems rather out of place. One number in particular is a Capoeira dance that seemed like a strange choice considering the overall tone of the production.
The play is written and performed by Deborah Westrup, whose script is a little dry and at times drags. However, Westrup has a remarkably sincere quality that seems to invoke pity from even the coldest audience members.
