Ah, to have been in Copenhagen’s Royal Theatre that night in late December 1879, when Henrik Ibsen elicited shock and outrage with his new play, A Doll’s House, and particularly the final door-slamming, convention-flaunting exit of its heroine, Nora Helmer. Watching what she endures through 21st century eyes, however, the only conceivable response is a hearty, “You go, girl,” … [Read more...]