About Us

Finding Inspiration in Every Turn
Welcome to the world of Elemental Repertory Theater.
In this company,
We believe in human rights and we fight for them.
We believe that there is more than one side to every story.
We believe that empathy is the key to a better future.
We believe that mental health is important.
We believe that YOU are important.
We believe that art can be a light in the darkest times.


Letter from the Director
Bad Rules

"It is not the strongest of the species that survive, nor the most intelligent, but the ones most responsive to change." - Charles Darwin
Nothing stays the same. We live in an ever-shifting world which seems to mock us at every turn. I will willingly admit to being someone who believed our political landscape was shifting toward empathy and kindness. I believed with every fiber of my being that our nation, and our world, would reject a future full of extremist rhetoric and fear. But we did not. And we're not the only ones.
But fear among hard times is not a helpful solution. Those who seek justice in a world which swings on a pendulum must find ways to work around fear, and to constantly challenge the "bad rules" which have found their way into our collective mindset. Bad rules which separate us from each other, and regulate autonomy; particularly for women, people of color, people with disabilities, and members of the LGBTQIA+ community.
With this groundbreaking production, we focus on women (yes, including trans women, because they ARE women). The rights which have been stripped away. The bright future we almost attained being reversed by men in positions of power. The autonomy that women have sought for generations but somehow can never quite keep hold of due to - you guessed it - bad rules.
Bad rules like those laid out in the next president's plans; from banning abortion, to taking away access to birth control, to even removing the right to no-fault divorce, the very topic this play is about. The incoming Vice President called no-fault divorce "one of the great tricks of the sexual revolution". This is what we are up against.
In writing "A Doll's House, Part 2," Lucas Hnath took on a challenge which is largely unmatched in the modern theater world - to create a piece of art which captures the strong feminist ethic of Ibsen's 1879 play while also being even-handed, honest and challenging. I guarantee that you will come away from this production with several thoughts in mind, and I have laid out some discussion questions further down in this program to help us gather those thoughts. It is okay, and expected, for you to have differing opinions from the characters in this play. None of these characters are perfect, and none of them have all the answers. Which is why, 130 years after the setting of this play, we are still discussing these things.
That said, through all of the uncertainty which may come with a story like this, one thing is certain - women, then and now, must have the ability to live in a world where they can control their own lives without the permission of a man. We must create a world in which stories like these don't need to be told anymore, because the bad rules and systems we have in place will no longer affect the autonomy of an individual woman. She will be able to make her own decisions, and find peace with them.
I long for the day when stories like this are just comedies. Remnants of a time when we were so backwards that we didn't let women make choices for themselves. May we live to see it.
Sincerely,
Tony Winters
Director & Founder, Elemental Rep.
About "A Doll's House"
About the Author
A biography of Lucas Hnath from the Whiting Foundation

Lucas Hnath’s plays include A Doll’s House, Part 2; Hillary and Clinton; Red Speedo; The Christians; A Public Reading of an Unproduced Screenplay About the Death of Walt Disney; Isaac’s Eye; and Death Tax. His work has been produced nationally and internationally, including at Playwrights Horizons, New York Theatre Workshop, Soho Rep, Actors Theatre of Louisville/Humana Festival of New Plays, Ensemble Studio Theatre, Mark Taper Forum, Steppenwolf Theatre, South Coast Repertory, Royal Court Theatre, and on Broadway at the John Golden Theater. He is a member of Ensemble Studio Theatre and a resident of New Dramatists. His plays are published by Dramatists Plays Service, Playscripts, Nick Hern Books, Overlook Press, and Theatre Communications Group. Hnath is a recipient of an Obie, a Guggenheim Fellowship, an Outer Critics Circle Award for Best New Play, a Whiting Award in Drama, a Kesselring Prize, two Steinberg citations from the American Theatre Critics Association, and a 2017 Tony nomination for Best Play for A Doll’s House, Part 2. He is an Assistant Professor in the Department of Dramatic Writing at NYU.
Meet the Cast
About the Director

Discussion Topics
In what ways do the realities of this play's time (1890s Norway) reflect our modern society?
In what ways does Nora have a point? Could any of her more "radical" points of view actually become realities in our modern society?
Nora faces a major shift in mindset after speaking with Emmy. Why do you think that is?
If Nora were alive now, what would she be doing? How would her life be different? What about Torvald, Anne Marie and Emmy?
Does anyone have a happy ending in this play? What exactly does a hapy ending look like?
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