Ghosts

It isn’t the supernatural that is haunting the Brooklyn Academy of Music, where a shocking and shattering production of Ghosts is presented at the Harvey Theater. Directed by Richard Eyre, Henrik Ibsen’s condemnation of middle class society comes to Brooklyn from the Almeida Theater in London. First written in 1881 and staged by a Danish company, Ghosts appalled theatregoers with its references to alcoholism, incest and venereal disease. More than 100 years later, it is the more subtle and familiar subjects that leave theatregoers aghast.

Lesley Manville gives a performance of shattering intensity and depth as Helene Alving, a widower hoping for a second chance at life. An independent and educated woman who has read on moral philosophy and feminist literature, Helene is anticipating the opening of an orphanage in the name of her late husband. Outwardly a loving gesture, the orphanage is actually a plan to keep her grown son, Oswald (an excellent Billy Howle), from inheriting the wealth of his late father, whom Helene reveals to be an abusive alcoholic who was unfaithful for the entirety of their marriage. Helene attempted to leave her husband once, but she remained with him to protect her son from scandal or being shunned by the community.

As Helene prepares to bid goodbye to the past, it is clear Helene’s romance and sexuality is still alive, as demonstrated with her relationship with Pastor Manders (Will Keen, steadfast and secure), whom she loved as a young woman. But it is clear the restraints of society are still present, and only her maid Regina (a spirited Charlene McKenna) and Regina’s father Jacob (an excellent Brian McCardie) can escape.

Tim Hatley’s set elegantly depicts the claustrophobia of Helene’s life as well as the freedom she longs for, utilizing misted clear panels to represent the world beyond her life. Peter Mumford’s lighting enhances the ominous mood that pervades the play, as does John Leonard’s sound. But it is Manville's performance that truly anchors the show as she portrays the depth of tragedy that Helene goes through, which will haunt the audience long after leaving the theatre.