“Ms. Hamill’s “Vanity Fair,” which is being performed to coruscatingly brilliant effect by the Pearl Theatre Company, is something else again, a masterpiece of creative compression that is at once arrestingly original and faithful to its source material, and I’ll be flummoxed if it isn’t at least as big a hit as “Sense and Sensibility.”
“…like “Sense and Sensibility”…a gift to actors and a goody bag for its audience.”
“But let’s be clear. Becky Sharp is not a feminist heroine. She won’t be joining any marches or knitting any hats. The status of women doesn’t interest her. Money does. And position. And the men who can provide them. A girl’s girl, she is not; a sociopath, she probably is.”
In the final scene of Ibsen’s 1879 ground-breaking masterwork, Nora Helmer makes the shocking decision to leave her husband and children, and begin a life on her own. This climactic event — when Nora slams the door on everything in her life — instantly propelled world drama into the modern age. In “A Doll’s House, Part 2,” many years have passed since Nora’s exit. Now, there’s a knock on that same door. Nora has returned. But why? And what will it mean for those she left behind?
It’s the million dollar question: what happens to Nora?