Omaha daily bee., 1908-12-12

oA0 iABh ~ n
Dolls House." a modern drama in three
acts, by Henrik Ibsen; under direction OF
the Shuberts. The cast:
Torwald Helmer. ...... .MT Dodson Mitchell
Dr. Rank........"".....Mr. Brandon lyman
Mis- krogStad. MI. Cyril Young
MRS. Linden............Miss Evelyn WELDING
anna ......."..........Mrs. Jacques Martin
Ellen ............ ........M Miss Alice Seymour
Bessie Dale
Emmy. Vio.ette Hill
Nora Helmer. Nazimova
Nine. Nazlmova accomplished a physical
feat at least on the occasion Of her first
visit to Omaha. She played a difficult and
in some ways an exacting role with her
right arm in a sling, and gave but little
exterior evidence that she was suffering
from the pain that must have taen hers.
1t is doubtful If a strong man, even one so
burly as Dodson Mitchell, could nave borne
the racking torture of torn and twisted llga-
ments and tendons with the fortitude that
marked Nine. Nazimova's work. And one
is left to wonder just what sort of per-
Torrance she would have given If not
handicapped in this painful way.
Ibsen has always dealt with a peculiar
type Of women the abnormal individuals
Of the type are the ones he exploits. The
Bee has pointed out on several occasions
the apparent lack OF resource that has al
ways driven the Ibsen women to some dire
extremity. Nora Helmer is as delightfully."-
illogical as any of them, but she must be
accepted as she is set before us by the
different women who seek to interpret the
role. Certain general aspects OF the charac-
ter are i~nvariable, for on the main points
involved 1bsen was explicit, and he left
no room for vague or uncertain treatment
OF these elemental traits, no matter how
much opinion may differ as to details. For
this reason, each of the NOras offered for
public approval must bear marked resem-
blance to one another. until 1t might almost
be said that a conventional type of Nora
has been set up for us. And yet II is pos
sible tC differentiate between the several
because of the latitude offered in the de-
tailed Developments the character, 1t is
essential in the beginning that Nora be q
Hght-hearted. merry sort OF p 'rs7n; her
own ilOg cal notions, fostersi by the equal
formal and illogical ideas or Tsrwalu, make
this imperative. Then comes the SUDDEN
awakening; the three days of terror and
suspense, the final disbursement, and the
change in attitude from the despalr Of sui
eide to the determination to learn OF what
life really consists. From these conditions
departure is impossible. But the actress
mas a wide scope for personal choice as TO
the Illumination of the role in it's several
aspects. and in this she may serve her
fancy to its utmost.
Therefore comparison is in a large degree
unfair. and the work of each should be
treated independently Of the others. Nine.
Nazimova is personally a different type OF
woman from what we nave been aecust-
omed to seeing on the stage. She is hardly
the sort OF woman Ibsen had in mind. The
characteristic of the orientaI dominate her;
she Is not the sturdy, self-reliant woman
of the northern races, but the soft. tender,
clinging woman Of the south and east. She
is beautiful. but sensuous. and her Nora
Is sensuous. Nora has certain elements OF
strength In the hands OF Nazimova, but she
lacks the virility that gives real force to
her final resolve. In the lighter moments
Of the play, where she romps with her
children, or where she confides in Mrs,
Linden, for example, she is charming. Her
work CLOVIS with life and color, and she
eaptivates the senses by her personality.
But when the current of the play runs
swifter and it's ehannel narrows, and she
Is hurried on to the catastrophe, she does
not convince. Her effort is sincere, appar-
emily. and yet It does not carry conviction.
In her final scene with Torwald. wherein
she bids goodbye to her doll days. she
rings true. Here she shakes off the last
vestige Of her former self. and while she