'Children of Nora is about what we inherit, but what is not in the will,' says author/director Robert Icke about his play Children of Nora, an explosive piece about the right of women to make their own choices, to have their own life.

We see a couple breaking up. A little later we realize that it is Nora and Helmer. This is Ibsen's final quarrel before Nora finally slams the door shut and Helmer leaves.

A little later we see a second couple, two men. They too part, or at least have a fight, but in a different place and time. One of them turns out to be Nora's son. The turmoil in this relationship may stem from money problems, lack of commitment, the games and lies within their parents' relationship.

Moments later we see a third couple. Nora's daughter and his partner. They too are breaking up. At the end, Nora appears for a confrontation with her son/daughter and his partner.

Robert Icke about Children of Nora

‘Everyone knows about the argument - the big argument, the ferocious, final argument, the one that ends the relationship. The one where the decision is made and somebody leaves and the door is slammed. Only, this door slam is the most famous door slam in dramatic literature.

Its echo has reverberated down the ages - causing both controversy and celebration since A Doll’s House was first performed. Only Nora and Torvald, the protagonists of Ibsen's play have children. How do they feel? What happens to them after their mother leaves? Taking as its starting point the text of A Doll’s House, Children of Nora is about all the things we inherit which don't appear on the will.’

'Well portrayed, Marieke Heebink's extroverted Emmy and Steven Van Watermeulen's neurotic Ivar, with strong counterplay from Minne Koole and Joep Paddenburg. (...) The strong cast and the form Robert Icke chooses give wings to his Children of Nora.' - Parool

'The magisterial playing of Heebink and Van Watermeulen forms the emotional heart of this kaleidoscopic performance, in which Icke presents small steps and countless clever hints and associations into the abyss at which they are standing.' - NRC ★★★★