The most famous slam in the history of theater

"(The door of the entrance is heard closing below)"; this stage direction is probably one of the most famous endings in the history of theater. It is from Henrik Ibsen's 'A Doll's House' and marks the moment when its female protagonist, Nora, slams a door that means much more than a bang; it signifies the abandonment of her previous life, her marriage, and even her children. Premiered at the Royal Theatre in Copenhagen on December 21, 1879, 'A Doll's House' is one of the great texts in the history of theater, and countless performances and versions of all kinds have been presented around the world. From May 16 to June 22, the Fernán Gómez Theater is staging a new production with a version by Eduardo Galán, directed by Lautaro Perotti, and a cast that includes María León (Nora), Patxi Freytez, Pepa Gracia, Santi Marín, and Alejandro Bruni.

"Why revisit 'A Doll's House' almost 150 years after its premiere?" asks the director of the play, who has found the answer in the text itself. "There's no need to look for other references," he says. "What Ibsen's words generated in their day continues to happen today. What moves me most is what it has to do with the evolution of a human being; in this case, a woman, Nora, who faces the decisions she has made in her life, especially her marriage... But what's unique is that she doesn't blame anyone, but rather reviews those decisions, her positions, and is encouraged to confront them, to slam the door and be a better person. It then becomes clear what the play generated on its opening day and what it continues to generate today. Every viewer today can find new concerns in the play: What have I done with my life? How can I confront my own personal slamming doors?"

María León believes that the passage of time and the assumption of women's rights has not diminished "the importance given to learning in this play. At a certain point, Nora feels a 'crunch' that leads her to grow and become a better person because she takes charge of her own responsibility and acquires her own voice." The Sevillian actress assures that characters like Nora "strike you like a potato, because you have to confront them in a very raw way; you have to define Nora's heart and expression, but without judging her. It makes you wonder if she has pampered herself as she pampers others. And that's when the 'crunch' occurs."