Review of ‘Ghosts’: “A twinge of fear for every immortal soul”

Ibsen takes a Shakesperian turn through the first-ever Globe production of his work. Guillermo Nazara shares his views on the show, to let us know if this new adaptation on one of his most controversial, later acclaimed plays keeps up its mystifying spirit.

Thou shalt honour thy father and thy mother… Sometimes, grief and terror can take the most unusual forms – even the ones we may call love. For generations, freedom has been a right turned into privilege, dictated by the arbitrary morals of society’s bias. Religion has taken a big role in that regard, deliberately creating a capricious narrative that, along with politics (a different wrap for the same malady) unilaterally determines what’s right and what’s wrong, and whom is deserving of their immaculate compassion or, on the contrary, should never, ever find redemption.

There’s a reason why Ibsen’s plays have overcome the pass of time. We may have evolved as a community, but at heart we still are (or come from) the same. The chains of judgement and prejudice continue to haunt us some way or another – either through the clashing convictions we find ourselves forced to coexist with, or through a painful background whose wounds never fully close. We long for liberty. We crave for understanding. And in our quest for survival, we may do things we may not be proud of.

Ghosts may dwell in the past, but its spirit hovers towards the present. First performed in the late 19th century, the piece is built on the shattered existence of unfulfilled people – some of them struggling to inflict their virtue upon the rest; some others, trying to flee the scars such virtue has carved in their souls. Adapted and directed by Joe Hill-Gibbins, the show is a grasping, nail-biting triumph of fictional truth, introducing us to a world as rough as it’s relatable, and in which surpassed conventions (for some) still ring a bell of topicality by presenting us with a deep, philosophical comment on the dicotomy between our beliefs and final actions.

Revolving around a widow about to open an orphanage in memory of her husband, the script unravels its stream of bleakness with almost impeccable technique – molding the drama with honesty and cautiousness, masterfully avoiding the tempting camp its material could lead to for a refreshingly mature, insightful mood that makes the work speak to the viewer from start to finish. Its only flaw, however, lies in the ending, which despite being correctly outlined, doesn’t manage to leave us with the same feeling of satisfaction its unnerving plot and savvy delivery have been able to keep us with up until that point.

Yet, there’s too many good things in this production to prevent its slightly abrupt conclusion from leading the whole thing to failure; and that is reinforced by the montage’s exceptional cast. With the whole company interpreting with absolute exquisiteness and refreshing rapport, the highest praise goes to Paul Hilton and Hattie Morahan in the lead roles of Father Manders and Helene Alving, portraying the parts with piercing naturalness and staggering chemistry. In addition, Stuart Thompson also makes a memorable impression as Osvald, bringing out both frailness and attitude to the character while also endowing him with subtle brushes of humanity.

A dark, engaging observation on the hypocrisy of ethics, Ghosts remains as an up-to-date exploration on communal righteousness and the contradictions of its principles. A new debut for Ibsen despite the play’s age, the Globe has welcomed a different author (second only to the Bard as for number of worldwide performances), that far from rivaling against the genius who gave name and origin to the venue, marks the beginning for a different repertoire complementing its canon. Purists may detract, but as Ibsen puts it, “this is the very essence of the rebellious spirit: to crave happiness here in this life”.

All pictures credit to Marc Brenner.

Ghosts plays at London’s Shakespeare’s Globe until 28 January. Tickets are available on the following link.

By Guillermo Nazara