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Red Turnip Theater:
"A Doll's House, Part 2"

• Sep 15 (Sat, Opening Gala) 8pm
• Sep 16 (Sun) 3pm
• Sep 22, (Sat) 8pm
• Sep 23 (Sun) 3pm
• Sep 30 (Sun) 3pm
• Oct 6 (Sat) 3pm
• Oct 6 (Sat) 8pm
• Oct 7 (Sun) 3pm

Zobel de Ayala Recital Hall
BGC Arts Center, 26th Street corner 9th Avenue, Bonifacio Global City, Taguig City
Regular Prices
Plus ticket fees and ticket protect.
₱1,500 V I P
Reserved Seating
₱1,200 Patron
Reserved Seating
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• The show is 90-minutes long with no intermission.

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Show Details

Written almost 140 years after its original, Nora is back. It’s been 15 years since she slammed the door shut on her family and the life she once knew.  Now a successful author of feminist literature, Nora returns with a task to accomplish - a divorce, for without it she is ruined. She now faces a series of loaded intimate and philosophical confrontations and recriminations from her former housekeeper, her daughter, and her (possible) ex-husband. And with this, questions of freedom, marriage, and family come into play in this 90-minute intermissionless dramedy.


Nora: Menchu Lauchengco-Yulo
Torvald: Carlitos Siguion-Reyna
Anne Marie: Sheila Francisco
Emmy: Rachel Coates


Directed by Cris Villonco
Set and Costume Design by Joey Mendoza
Lighting Design and Technical Direction by John Batalla
Projections and Graphic Design by G.A. Fallarme

Things to know before watching the play:

1) Nora is back—after 15 years.
2) You do not have to read Henrik Ibsen’s A Doll’s House (it would be great if you did, though).
3) This is Cris Villonco’s directorial debut.
4) This is Menchu Lauchengco-Yulo’s first Red Turnip production.
5) The play is written in modern language, with common expletives.
6) The show had 8 Tony nominations (including Best Play), one win for Best Leading Actress in a Play for Laurie Metcalf.
7) The show is 90-minutes long with no intermission.
Lucas Hnath and Vogue Interview excerpts
…Smart, expertly crafted, moving, and very funny

When did you first encounter A Doll’s House and what was your reaction?
My first encounter would have been reading it in high school. I don’t really, entirely remember the experience of reading it except to say I know I think I rather liked it. I think the next time, was a production by probably a bunch of interns over at The Wooster Group at the Performing Garage that frankly was kind of a hot mess. I mean that with all affection because it was a really interesting experience. Like Nora was played by like seven different women all wearing lizard tails or something. I remember coming out at the end thinking, “Oh I don’t know about that production but I think the play is really good.” Even with all those layers of concepts piled up on it the play actually kind of held its own and the story worked.

What, for you, is its enduring power?
There’s a part of me that wants to answer in terms of all of his plays, but I’d say that the action that takes place at the end was a shock when it was first produced and it’s still a shock today. The way that it’s built is it’s a couple that actually is failing to talk to each other for most of the play. Then you hit that final scene where Nora says, “We need to talk.” That is such a resonant moment, and it’s such a familiar moment, too. It cuts to the heart of a problem in all intimate relationships. Also, Ibsen is trying to define what freedom is and is identifying the ways in which we are not as free as we think we are. Fears about reputation and how we’re viewed in the world, and anxieties about money and social standing—I think those are all shackles that remain today.

How did you decide that the play called for a sequel and that you were the guy to write it?
Honestly, to some degree there probably wasn’t that much thought that went into it, which is probably the best way to begin. I wasn’t too self-conscious at the start of it. Really it came out of just such a love and appreciation of Ibsen’s work and finding this is a great excuse to spend more time with Ibsen and try to get inside his skin. The way that I started writing the play was I found a really bad translation of A Doll’s House online and cut and pasted it into a document and started just writing each sentence, each line, in my own words, as just a way of kind of getting to know how his plays work, how he does what he does. It came out of just an excitement over a chance to get to play with it for a little bit. That plus the title I thought was kind of funny.

Then it became an opportunity for me to think about the subjects of marriage and divorce, which are topics that I’ve been sort of hovering around for a while. It seemed to be a good platform to write about some subjects that I was already interested in, because it’s a sequel to a play that everybody kind of at least sort of knows: “Wait—is that the one where she shoots herself or the one where she walks out the door?” It’s similar to the way that I like writing plays about famous people, like Walt Disney. I like taking something that already feels a little mythic, and then starting to play with that.

As you started to write, how did you find your way into the world of the play?
One of the things I did do early to kind of prep myself was, during a workshop, I polled all the people in the room about what they remembered of A Doll’s House and what they imagined Nora went off to do. Almost everybody said that she went off to work in a factory or became a prostitute and died. Given how few avenues there were for emancipated women at the time, those aren’t incredible assumptions, but it dictated to me that what I wanted to do was something completely other than what people were expecting. Instead of a story where she hits a wall of misery, I was going to say that she did great. There’s something kind of fun and really exhilarating about that.

Some of the plot elements are kind of an homage to Ibsen but the play feels much more contemporary.
The earliest stabs at the play were even more of an homage. I started by mimicking him pretty heavily, then looked to see what I could strip away and not be so beholden to the Ibsen style and structure. At a certain point, it made sense to strip it down to what are basically a series of two person showdowns, like a series of boxing rounds, which is closer to how I write most of my plays anyway, instead of almost doing an Ibsen tribute band.

I also can’t imagine Ibsen having one of his characters tell another to “fuck off.” What was behind the decision to use modern language and slang?
I think it helps with the sense of humor, and it helps with getting the audience to think about the relationship between themselves and the dilemmas of these characters from the late 1800s. Also, there’s this thing that sometimes happens in theater—when you tell a story about another period, in the language of the time, for some reason actors start using this vaguely British accent. It doesn’t matter where the play takes place. They call it period voice, and it turns people into marble monuments instead of flesh and blood humans on stage. Really, it’s just a part of what I’m attempting to do with the play as a whole, which is to try to see through something that feels familiar and make it new again.
Red Turnip Theater was established by five established actors in the local theater scene.

Together, with over 90 years of experience among them, they give the local audience unique theater experiences.

This season, Red Turnip Theater is producing a Lucas Hnath original, “A Doll’s House: Part 2” and will be featuring the “first lady” of Philippine musical theater, Menchu Lauchengco-Yulo.

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Senior Citizens: Less 20% (Net of VAT)
Student Discount: Not applicable on all shows. Call TicketWorld for details.
Persons with Disabilities: Less 20%. (with VAT) There are allocated seats for PWD, please visit a ticket outlet to purchase them. You can also inquire by calling TicketWorld for more details.
Diplomat Discount: Per REVENUE MEMORANDUM No.22-2004 of the BUREAU OF IMMIGRATION. Present VEC/VEIC card please.

The above ticket discounts may not be used in conjunction with existing promos or packages.


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With Lucas Hnath’s lucid and absorbing A Doll’s House, Part 2, the Broadway season goes out with a bang.  - Time Out NY
 … Lucas Hnath has written one of the year’s best plays. - LA Times
 One of the most famous exits in modern drama prompts an entrance that bristles tension, provocation and unexpected subversive humor in Lucas Hnath’s terrific new play, A Doll's House, Part 2. - Hollywood Reporter
A Doll’s House, Part 2 demonstrates just how imposing is that big doorway Nora walked through once upon a time, and the guts it takes to keep walking through it again and again. - Washington Post
 The play—a psychologically serious, deliciously amusing tragicomedy— extends Ibsen’s three-act, multi-character masterwork with just four characters in an intense but surprisingly breezy 90 minutes. - Newsday
 Welcome back, Mrs. Helmer.
- New York Times
 … What would bring Nora back? How would those she left behind received her? Has she achieved emancipation? At what cost? - The Guardian
 Unlikely as it sounds for a play about a broken family, there's humor in almost every scene. - CBS News