From the very beginning of the play, we can see that Nora is a pleaser. Her upbeat and excessively "chirpy" attitude is reflected in how she enters Scene 1 in such "high spirits," singing tunes, then eating macarons, and then interacting with her husband in an almost comical way. Their interaction immediately denotes a father/child dynamic where the husband acts as a disciplinarian more than a loving companion. To all this, Nora is compliant. She is fulfilling a role, after all: the very Victorian role of the "angel of the household." In the Helmer household, she would be playing the part of  her husband's "squirrel," the "little spendthrift," and the "featherhead," in Torvald's own words.

Once she reunites with her old friend Mrs. Linde, we find out the kind of trouble Nora is in. She has made a business loan with a man who works for her husband. The man is Krogstad , an individual with a shady past and questionable intentions. Eventually, he uses his position to control Nora and threaten...

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