Did someone happen to mention vacuous, caustic materialism? Well, now that you bring it up, this is the penultimate weekend for the Guthrie's production of Rebecca Gilman's Dollhouse (CP review here), the Ibsen update that brings marital subterfuge and the awfulness beneath shiny domestic appearances into particulars of the new century.
Now that the show is a few weeks in my rear-view mirror, what settles into memory are the brand-specific set, Sarah Agnew's combination of furtiveness and flippancy, and the sense of a marriage in which both parties are set on the same goal: avoiding reality, with all the Herculean effort entailed.
In an early scene, husband and wife sit down and talk gifts and currency. It's as squishy an exchange as they come, and presages the gnarled mess that eventually follows. I can't decide whether Dollhouse is the best update of Ibsen, but I can attest to the way in which many aspects of it have lodged in my memory.