Two Plays ,
ONE UNIVERSE
Designing the Doll ’ s Houses in Rep
THE COSTUMES
“ Ibsen wrote about the world around him – and I love research – so I dove into traditional Norwegian dress . The final decisions about color , pattern and structure were very collaborative and connected to character and the version of the story we hoped to tell .
In A Doll ’ s House , it was important that Nora ’ s colors presented the illusion of innocence . Not that she is necessarily innocent , but it ' s as though she ’ s been dressed up and placed inside a dollhouse . Infantilized . I grabbed colors from Lucie ’ s scenic elements – such as the rose from the rug and the furniture patterns – all part of the world constructed around her .
In A Doll ’ s House , Part 2 we continued with traditional Norwegian period structures , but with vibrant hues for both Nora and Emmy . We wanted Nora to have located her ‘ power color ’ and cut an impressive silhouette . All built to allow her full freedom of expression , physically – so we could see her moving as a woman without limits .”
MELONIE STOLL COSTUME DESIGNER
14 A Doll ' s House & A Doll ' s House , Part 2 | theatrecr . org