Dollhouse by Three Manufactures
Adapted from A Doll’s House by Henrik Ibssen
Directed by Miranda Jagels Félix, Spencer Lawton, and Jimmy Bernatowicz
Equally Represented Arts
July 31, 2025
Frankie Ferrari, Hailey Medrano
Photo: ERA
ERA is at it again. This wildly inventive theatre company is re-examining a classic work as usual, with their characteristic experimental lens. This time, they’re doing something new, even for them. With Dollhouse by Three Manufacturers, the challenge is to present a coherent adaptation of Henrik Ibsen’s A Doll’s House with each act directed by a different person, with notably contrasting approaches. Although there are a few issues with coherency in moments, for the most part I would say that this experiment is a bold, provocative success.
I will say that this is one of those shows that works best when the audience is somewhat educated about the source material. If you’re never seen A Doll’s House, it would be useful to find a synopsis online and familiarize yourself with the basic plot, because that will make the madcap, high-energy tone of (especially) Act 1–directed by Miranda Jagels Félix–easier to follow. The story of the pampered housewife Nora Helmer (Hailey Medrano) and her doting but oddly paternal husband, Torvald (Frankie Ferrari) is at first framed as something of a fever dream, introduced by a lounge-singer type “Mistress of Ceremonies” (Molly Wennstrom) who sings classic pop and jazz standards before the story begins that work to call attention to the subject matter of the show and add a satirical air, like “My Heart Belongs to Daddy” and others. The characterizations are played as fairly over-the-top, as the central dilemma is introduced–bank manager Torvald is about to fire longtime employee Nils Krogstad (Andrew Bayer), but Krogstad has a secret he shares with Nora involving how she was able to help Torvald during a health crisis, and he Krogstad threatens to expose Nora if she doesn’t help him. Meanwhile, Nora’s old school friend Christine (Victoria Thomas) shows up also looking for a job after being widowed, and Nora struggles with the expectations of what it means to be a wife and mother in a society in which men have all the power. This is a stylized act, where much of what Torvald says is recited by the entire cast together (minus Nora), and much of the staging is symbolic and briskly paced. It’s something of a farce, but with a highly satirical edge. There are laughs, but some of the dialogue can be hard to follow at times, especially during the group recitations.
Act 1, which is somewhat frantic, eventually gives way to Act 2, directed by Spencer Lawton, which slows down to a calmer, more somber pace, for the most part. The characters are played much closer to the “traditional” tone of A Doll’s House, making the story and the emotional weight of the proceedings a bit easier to understand. The cast keeps up the pace and transition well here, and the tone shift works especially well considering that it serves as something of a “rest” between the much more stylized first and third acts while also communicating the story and themes with clarity and emotion.
And then comes Act 3, directed by Jimmy Bernatowicz, which is the most obviously polished and precisely choreographed of the thee parts, in which the story suddenly becomes a fully realized 1950s live sitcom, complete with actual cameras as the story is filmed and projected onto the curtain at The Chapel as the story plays out. The characterizations are a bit broader again, and the sitcom format brings a good deal of laughter, as does the inclusion of live commercials integrated into the plot, as old TV and radio shows often used to do. What’s especially brilliant here is how the commercial narratives are blended with the themes of Nora’s story, particularly toward the conclusion as the commercials come to be about dolls, emphasizing the doll-like existence Nora has endured, and her increasing desire to break out of that. It’s an impeccably staged act, featuring well-integrated live music (particularly the Buddy Holly classic “True Love Ways”), marvelous special effects, and top-notch performances by the cast.
As for the cast, everyone is excellent and on-point, adjusting their performances to the tone of the different acts, but also keeping their characters recognizable throughout. Medrano is at turns hilarious, heartbreaking, timid, and bold as Nora, and Ferrari’s Torvald is suitably paternal and frustratingly upbeat until the devastating conclusion. There are also impressive portrayals by Bayer as the insistent Krogstad, Thomas as the somewhat enigmatic Christine, Ross Rubright as the gentle and ailing Dr. Rank, and Morgan Schindler as the family’s nanny/maid Ann-Marie, who is essentially a blend of two characters in the original play. Wennstrom makes for a memorable Mistress of Ceremonies, as well, and all of the players work well with the shifts in tone between the acts, keeping up the energy of the story as the styles change throughout.
The technical qualities of this show are also excellent and memorable, with a strong sense of “dollhouse” theming and and a versatile set by Lucy Cashion and Bernatowicz. There are also fantastic costumes by Meredith LaBounty, dazzling lighting by Jayson Lawshee, and terrific video and A/V work by Joe Taylor, especially in Act 3.
This is unmistakably an ERA show, with emphasis on satire and critical examination of its source material–here featuring a critique of patriarchy and roles of men and women in society. It’s a new approach from a company that keeps coming up with fascinating new approaches. It may not appeal to all tastes, but I find it fascinating and especially entertaining. It’s worth a look especially if you love experimental theatre.
Morgan Schindler, Molly Wennstrom, Andrew Bayer
Photo: ERA
Equally Represented Arts is presenting Dollhouse by Three Manufacturers at The Chapel until August 9, 2025