With the return of theatre after the pandemic, there has been a shift in the types of shows being brought onstage. Recent productions have been keen to examine the relationship between societal expectations and mental health. It is no surprise then, that Seattle Rep’s new translation of Henrik Ibsen’s Ghosts cathartically addresses these themes.
During its original 1882 Chicago production, Ghosts was criticized as a controversial statement against the simplicity of Victorian morality and social order. It has since been reassessed as a crucial piece of late 19th century social commentary. This new translation by Paul Walsh is subtle but lends itself immensely to the ears of a modern audience. Walsh’s intention was to take William Archer’s 1888 translation and make the language more direct and plain spoken. For the most part this translation succeeds, with only very brief moments where the word choice became slightly repetitive. However, I applaud this adaptation of the original play and would most likely prefer it over the original should it be used in future adaptations.
Ghosts follows Mrs. Helena Alving (Mary Elizabeth Mastrantonio) as she reconciles with the abuse she received from her late husband Mr. Alving. With the return of her son Oswald (Albert Rubio III), after years spent abroad in Paris, Mrs. Alving discovers that she is unable to escape the lingering effect of Mr. Alving on her life. Aided by Pastor Manders (David Strathearn), the two attempt to navigate the “ghosts” amongst them, revealing a love affair between Oswald and the family maid, Regina Engstrand (Nikita Tewani) as well as the whining of her brutish father Jakob Engstrand (Thom Sesma).
Each of these actors excelled in making these characters come alive. Strathearn’s humming, hawing and gawking at the story Mrs. Alving presents adds an extra layer of endearment to a character which could have easily been the villain for a modern audience. Mastrantonio’s performance excelled in balancing both the eccentric and reserved aspects of the character. And Sesma’s portrayal of Jakob Engstrand was a highlight of the show.
Albert Rubio and Nikita Tewani brought subtlety to their characters and acted as the emotional crux of the story. There is an air of mystery that each brings to their role, imbued with the “ghosts” of their past conflicting with their waning innocence.
Aside from the performances, there are several technical aspects of Seattle Rep’s Ghosts which elevates it above other adaptations. One aspect of the show which struck me the most was the set. While many adaptations of Ghosts place the setting clearly inside the house, scenic designers Dane Laffrey and Matt Iacozza went in a more abstract direction.
On the roof, stands long overgrown grass, atop midcentury modern home complete with tall glass walls. Inside these walls stand many chairs and tables, furniture stacked atop each other, with some reaching the ceiling. These choices incite viewers not to think of these characters as stagnant, but archetypes reminiscent of one’s own life. Perhaps the overgrown grass springing from the roof, the modern design of the house and the dilapidated nature of the inside is meant to place these characters even more within our modern era. Almost as if the ghosts of the past have sprung up in the backyard, causing events to repeat themselves once more.
I’d further like to praise composer David Coulter’s orchestration. The ethereal nature of the instruments used, added much to the atmosphere and themes of the show. The droning of strings and piano, imbue the actor’s lines with such tension that I could not imagine this production without it.
Seattle Rep’s Ghosts is a wonderful addition to this year’s season and reminds me why theatre is so important, communal experience. This was clear from the audience reactions alone. I was struck at the amount of laughter, hushed whispers and cries from the crowd. It was a cathartic post-pandemic experience that I highly encourage readers to go see for themselves.