There is a marriage of theatrics in the Helmer’s household, and Nora plays her role well. A spendthrift and a singing bird, she delights in her husband’s new powerful position in a bank, twittering away to her old friend Kristine with notes of money, money, money. But her song is soon cut short by the arrival of a familiar lawyer, Mr Krogstad, who reveals a salient detail in their previous acquaintance that she appears to have forgot. Infused with a modern context, Ibsen’s A Doll’s House transforms the theatre floor, inviting immersed audiences to examine the Helmer’s personal relationship, closed behind their very own doors. Bubbling with secrecy and guilt, Nora for the first time faces a battle alone. Fighting for breath in her final Tarantella, she hopes for something wonderful, but discovers instead the most wonderful thing of all.