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Morahan and Rowan in Young Vic Doll’s House

First Published 10 April 2012, Last Updated 10 April 2012

The Young Vic has announced news of shows both past and present, with Hattie Morahan and Dominic Rowan to star in the venue’s forthcoming production of A Doll’s House and acclaimed recent shows The Changeling and Going Dark returning this winter.

Outnumbered actress Morahan will add to her already extensive stage credits, which include The Real Thing at the Old Vic, The City at the Royal Court and Three More Sleepless Nights at the National Theatre, to star as Nora in Simon Stephens’s new version of the Ibsen classic.

Stephens’s has teamed up with director Carrie Cracknell and Tony Award-winning designer Ian MacNeil to create an updated version of the 19th century classic about a woman with a seemingly perfect life. But when the lies and deception beneath her life’s surface are revealed, Nora discovers just how radically it must change.

Rowan will return to the venue following his performance in 2009’s After Dido to play Nora’s husband Torvald. The actor, who is soon to be seen in the BBC’s Henry IV parts 1 and 2, was most recently seen on stage at the Royal Court in The Village Bike. His other numerous stage credits include Henry VIII at Shakespeare’s Globe and The Misanthrope at the Comedy theatre.

Cracknall will no doubt be hoping A Doll’s House proves as successful as the venue’s recent sell-out productions The Changeling and Going Dark, which are given second chances to shine, restaged in larger venues at the theatre. Joe Hill-Gibbins’s chaotic interpretation of The Changeling will move from its original home in the Maria studio to the Main House in November, following its premiere in February which saw the production sell out before officially opening.

Sound&Fury’s immersive Going Dark, which also sold out, will return to the venue in December, moving from the Clare to the Maria studio. A touching story of space, love and loss set in a pitch black planetarium, the show was described as an “exceptional event” by The Guardian’s critic Michael Billington.


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