NASHVILLE, Tenn. – It can be tough to perform a classic like Henrik Ibsen's A Doll House without seeming either artistically self-conscious or too reverential.

Happily, the Belmont Little Theatre has avoided those traps. Its collegiate performers vary in their level of ability to pull off this challenging work, but this production succeeds primarily because of its lead actors.

The play is usually referred to as A Doll's House, but program notes from director Steve Cardamone point out that the original title didn't include the apostrophe and the "s." "This cast has decided that (the original title) best suits the play since all of the inhabitants and visitors of this house are trapped in one way or another," he writes.

Set at Christmastime in 1879, the play centers on the childlike Nora (Stephanie Suazo), the wife of Torvald (L. Chad Simmons), an admirable and highly moralistic man who manages a bank in small Norwegian town. Nora is Torvald's "song-bird", a pretty woman in a gilded cage, whose life, complete with three children, seems perfect. A secret hangs over their house, though, which threatens to destroy their marital bliss. When that secret is revealed, what will happen to their happy home?

As Nora, Suazo is terrifically in tune with her character's strengths and weaknesses. We see Nora's childishness as well as her wifely devotion, her naive take on the world as well as her sense that life must be more ambiguous than she's been led to believe by her husband and her late father. It's quite a polished performance from a young collegiate actor.

Simmons is equally up to the task as Torvald. He has an air of condescension toward his bride that's certainly appropriate given the play's setting and some of his dialogue, but he doesn't overdo that element. What really makes his characterization work is that Torvald seems genuinely loving toward Nora, when it would have been far easier (and totally wrong) to portray him as nothing more than a chauvinist jerk. That loving attitude makes the climax of A Doll House much more emotionally searing than it would have been otherwise.

Other performances aren't as strong, although they partially serve the work. Madeline Rhodes as Nora's friend Kristine plays her character's tragedy-forged hardness well, but that's basically all we see in her. Josh Funderburg's Nils, who threatens to expose the aforementioned secret, is good at summoning up his character's bitterness and cynicism, but seems tentative about exploring other areas of his role. Zack Ritchie's Dr. Rank is kind and gentle as a dying family friend, but he's also somewhat reticent about revealing the emotional depths of his character.

Cardamone, who has been artistic director of Nashville Shakespeare Festival since 2003, has kept the show finely paced and made good use of the entire space in his blocking. Rhodes doubles as scenic designer, and her set is wonderfully detailed, turning Belmont Little Theatre's black box into a Victorian drawing room complete with foyer, window and study doors. Taylor Crow's costume design is also appropriate to the play, and Mitch Massaro's lighting enhances moods and focuses moments well.

Yes, like many collegiate productions, this show has uneven acting. But these are students on stage, not experienced pros, and all acquit themselves positively under the circumstances. Two, Suazo and Simmons, go beyond that to deliver sharply crafted performances that make A Doll House come alive.

A Doll House ended its run on Nov. 21.