CITED by critics as the first ever naturalistic play, Henrik Ibsen’s A Doll’s House has engaged audiences in heated debate about moral and domestic duties of husband and wife since the Victorian era.

Although feminist struggles have shifted into more abstract forms since Ibsen’s day, Pete Talman’s detailed production is brought forward to the 1950s, confronting his audience with a more modern and uncomfortably closer take on female subjugation without losing the play’s foundations built on social conventions waiting to be broken.

From the meticulous costumes and sound effects to the realistic setting, there has clearly been no stone left unturned in the preparation of this production.

Jan Wyld fascinates as naïve housewife Nora Helmer, skittering about the stage in a girlish whirl one moment and dissolving into distress the next with captivating versatility.

Frances Aspinall gives an incredibly naturalistic performance as Kristine Linde, Nora’s older and wiser long-standing friend.

Despite looking decidedly healthy, Graham Haigh endears the audience fully to his charming portrayal of the ailing Dr Rank, while Andy Oldfield plays villain Nils Krogstad with relish.

Mark Ritchie is suitably pompous as Nora’s overbearing husband Torvald and June Lane is entirely convincing as Nora’s motherly maid Anne-Marie.

An altogether in-depth engaging drama presented with detailed precision by director, cast and backstage team.