Amy Herzog’s compelling new version of “A Doll’s House,” Jamie Lloyd’s transcendent direction (2023 Tony Nominee), and Soutra Gilmour’s carnal scenic design create the landscape necessary to bring Henrik Ibsen’s 1879 brain-scape play to a new audience who want to deep dive into the Norwegian playwright’s treasure trove. Currently playing at the Hudson Theatre, this “A Doll’s House” gives 2023 Tony Nominee Jessica Chastain (an introspective and feisty Nora Helmer), 2023 Tony Nominee Arian Moayed (a self-centered and conniving Torvald Helmer) and the ensemble cast the opportunity to successfully peel back the dramatic layers in this psychological drama.

Nora’s indiscretion in securing a loan for four thousand eight hundred dollars from “the crooked loan shark” Nils Krogstad (a survivalist and oddly compassionate Okieriete Onaodowan) by illegally signing her husband’s name drives the plot of this new “A Doll’s House.” Although Nora’s motives for securing the loan are innocent, her method of finding the money to fund the needed trip to Italy “to save Torvald’s life” was neither innocent nor prudent. There are more plot twists and rabbit holes in Ibsen’s work than any contemporary playwright has managed to turn or dig as Nora seeks counsel and comfort from Kristine Linde (a pliable yet self-serving Jesmille Darbouze) and her dear friend Dr. Rank (a compliant and amiable Michael Patrick Thornton). Nora needs to find a way of her predicament without her husband knowing what she did to get the considerable sum of money.

Things become even more complicated when Nils (who works for Torvald) visits the Helmers to demand payment and subsequently gets fired to make employment available for Nora’s friend Krisitne. The relationships between the characters are subtle, sinister, and spellbinding. Just when it seems Nora has a chance to “win” in her challenge triumph over the toxic masculinity that surrounds her, that chance unexpectedly shifts to a new challenge.

This is “A Doll’s House” for the mid-twenty-first century that assures Ibsen’s place in pioneering groundbreaking and forward-thinking theatre. Enver Chakartash’s costume co-design, Jon Clark’s suspenseful lighting design, Ben and Max Ringham’s sound design, with music from Ryuichi Sakamoto and Alva Noto, and Jennifer Rias’ choreography all add to the success of this new production of “A Doll’s House.”