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troduced as he enters through an unlocked door in the Helmer’s household “Now the door is pushed ajar, and Krogstad appears.” (130). Like Sandip, Krogstad’s arrival is sudden and unforeseen. By focusing on the unlocked door, it is clear to see that the bourgeoise household is defenceless in keeping intruders out. It is a facade of security that is easily compromised. Furthermore, Krogstad’s silent observation of Nora’s game with her children “what shall we play? Hide and seek?” (129) provides an unsettling sense of voyeurism as he intrudes on an emphatically private moment. This casts Nora’s household from its preconceived notions of seclusion and exposes it to be scrutinized by the outside world. Nicholas Grene extends this line of thought by stating that “the revolutionary innovation of Ibsen’s A Doll’s House was to turn that scene of the glass-walled conservatory the other way around, to put the audience of the play in the position of the townspeople, gazing in at the middle-class marital home.” (16). Grene’s point is a significant one as it illuminates the importance of staging in corroding the distinct lines between the interior and exterior world. The set of the bourgeoise household may be constructed to appear superficially private but it is, in fact, a stage. This means that it is designed for the sole purpose of being gazed upon and dissected. In this sense, there is a definitive and noticeable breach between the domestic household and the external world as the audience observes the bourgeoise home. This, Branislav Jakovljevic posits, means that “the reality of the stage is always measured against the truth of the outside world.” (432). In other words, the facade of the ideal household is exposed by means of the audience witnessing its gradual undoing. But the inhabitants of outside world are not embodied solely by the audience. Instead, they can also be seen in Krogstad’s letter which is an artefact of the outside world. The letter is inimitable proof of Nora’s fraud, which makes it a distinctly financial object. This links closely to ideas of capitalism and financial security that are already deeply rooted in the household. Similar to Krogstad’s first appearance, the letter arrives through the front door and sits, out of reach, in the letterbox “There it is. – Torvald, Torvald – we’re beyond rescue now!” (159). Nora’s inability to access the letter is indicative the fact that her household is longer a private space. It is open to the influences of the outside world and cannot be shielded from them. As a result, Nora is forced to face the reality of her deception, knowing that resistance is futile. The futility of Nora’s predicament is significant as it points towards the irrevocable change that the household has undergone. It is utterly compromised by the pressures of debt and capital and, despite Nora’s best efforts, it cannot be concealed. In this sense, the contamination of the household by outside forces is an inevitable process of change that cannot be placated.