Many congratulations to everyone involved in putting on Wargrave Theatre’s production of this modernised version by Richard Eyre of Ibsen’s original, brought to the amateur stage by arrangement with Nick Herne Books, from 18th to 21st October 2023. Chris Christie’s debut as Director evidently had a big impact on those who came to see how she and her well-chosen cast would portray the disturbing themes endemic in Ghosts.
Below are some excellent reviews and comments submitted by members of the audience, including those published already in Wargrave News and the Henley Standard, and a selection of photographs which we are able to display by kind permission of Peter Knowles of pkkfoto.
The reviews:-
“The first night audience of the Wargrave Theatre production of “Ghosts”, in Richard Eyre’s racy translation, was far more polite than the one that greeted Ibsen’s premiere in Chicago in 1882.
The cause was the daring subject of the play, syphillis, not mentioned but implied in the dialogue, a taboo topic which at that time it was believed could be inherited. Closely associated is the theme of social hypocrisy.
The play opens when Jacob Engstrang, a drunken carpenter played characterfully by Joe Haynes, bursts into the big house to confront his daughter Regina, beautifully portrayed by newcomer Hollie Alexander. She works as a maid but is being effectively brought up and educated by Mrs Alving. He wants her to work for him in a sailor’s home he hopes to establish.
The dominant character in the action is the upright citizen Captain Alving, already dead for ten years, but whose portrait glowers over the scene as the dark secrets of his real character unfold.
His widow, powerfully played by Grace Tye, gradually sloughs her skin of meek, obedient wife to reveal the feisty me-too woman that Ibsen loved to portray.
Graham Wheal sensitively played Pastor Manders, who as a divinity student had not had the guts to give in to the mutual love he had for Mrs Alving, even before she came to him for help as an abused 19-year-old new wife. Now her adviser, the spark in her has not died, but he is still more concerned for his own reputation. For fear of public opinion, he even persuades her not to insure the new orphanage she has financed and built to whitewash her late husband’s reputation, because it might reflect badly on the view of the Church that it has divine protection.
The catalyst for unravelling this false façade is the return home after many years of the Alving prodigal son, Oswald. Unlike his biblical `model’, he is unrepentant of his dissolute bohemian way of life, even singing its virtues in contrast to the secret immorality of the `upright’ men who come to visit the European fleshpots.
He has come home to recover from a mysterious illness that prevents him working. His mother recognises her first Ghost. When Oswald shows interest in Regina, the second Ghosts is revealed, and his mother is forced to divulge that Regina’s real father is Captain Alving.
Then when the orphanage inevitably burns down, this gives Jacob Engstrang the chance to extort money for his sailor’s home from Pastor Manders by taking the blame himself. The burning of the orphanage symbolises the tearing down of the hypocritical social facades and at the same time enables women to liberate themselves from subservience and go their own way.
A powerful production by first-time director Christine Christie, ably abetted (one might say theatrically propped up) by producer Joy Haynes and the invisible background crew of designer Sheila Williams, ace scenery constructor Dave Robinson, and assorted painters and unnamed heroines from wardrobe.
Those who missed it will think themselves accursed they were not there. “
Martin Lorenz
“Wargrave Theatre does Ibsen. Wargrave Theatre Workshop has been rebranded as Wargrave Theatre.
Its latest production is Henrik Ibsen’s “Ghosts”, with its themes of social mores and their impact on people’s lives, where reputations must be safe-guarded at all costs. Sadly, we see that “the costs” are borne by those who spend their lives protecting those reckless, immoral individuals, who least deserve it.
You might think that “Ghosts” is “strong meat”, that may have limited appeal. You would be wrong. The hall was almost full, on Thursday night.
Christine Christie, a “rookie Director” in her own words, steered the cast meticulously through the twists and turns of family traumas, with hidden secrets and misplaced loyalties. She was rewarded with a fast-moving, absorbing production from a well-versed cast of five.
Grace Tye, a convincing Helene Alving, expertly led as she shifted between desperate mother and thwarted lover, portraying a life wasted through the confines of social expectation, duty and self-sacrifice. Despite all her efforts, she cannot protect her son from his father’s unwanted “inheritance”.
The hypocrisy of Paster Manders was beautifully captured by Graham Wheal’s performance. Another casualty of always needing “to do the right thing” but with the added complication of also having to do “God’s will”. The theme of hypocrisy runs throughout the play, with every character guilty of it in one way or another.
Conor Black, as the diseased-ridden son, accurately presented a pathetic individual who thought only of his own needs. Although he was a victim of the times and his father’s immorality, “when the sins of a father are visited on his son”, it is difficult to feel sympathy for him.
Relative newcomer, Hollie Alexander, played her downstairs role with aplomb. She communicated her feelings of frustration towards her father and her desperation to escape.
Joe Haynes, in one of his many cameo performances, played the manipulative Jacob Engstrang to perfection. His shocking revelations were delivered in a quiet, unassuming way. He was the only character who achieves what he wants, in this sorry tale.
On entering the hall, you are drawn into the set, an excellent representation of Mrs Alving’s drawing room, where all the action took place. The whole stage was used to good effect throughout the production.
This is a new version by Richard Eyre, a former director of the National Theatre, now Director at the new Bridge Theatre, Thameside. It is easy to get a bit overwhelmed by the complexities of Ibsen’s original play. This shorter version is more accessible in some ways, without losing the impact of its main themes.
When “Ghosts” was first produced in 1881 in London, it was not received well by some critics. Maybe if Christine Christie had been around to direct it, it would have been a different story!”
John Lawson
“Wargrave Theatre – Performance of Ghosts by Henrik Ibsen – October 2023
The premiership of Ibsen’s Ghosts, written in 1881, caused outrage. There was an outcry of criticism against Ibsen’s attack on religion, his defence of infidelity, the play’s references to incest and syphilis and to euthanasia. Wargrave Theatre’s production was written by Richard Eyre in 2013. He wrote at the time “what I have written is a version or interpretation of Ibsen’s play but I hope that it comes close to what Ibsen intended while seeming spontaneous to an audience of today”.
Wargrave Theatre once more did their audiences proud with this play and its challenging themes. Produced by Joy Haynes and excellently directed by Christine Christie, we were treated to strong performances from all five cast members. The stage of the Woodclyffe Hall was transformed into Helene Alving’s living room where all the action took place. As always, the backroom gang came up trumps with the set, lighting, sound, props and costumes!
Hollie Alexander as the family maid ably demonstrated her role as the exasperated daughter of Jacob, the dutiful maid to Helene and as the lover of Oswald, son of the house. Joe Haynes, stalwart of the theatre group, played Jacob, ‘father’ to Hollie, and a heavy drinking, disabled carpenter. Joe brought some welcome light relief with his Irish accent and mismatched footwear. The pastor, Graham Wheal, had influence over all the characters and did justice to this unsympathetic buttoned up and repressed clergyman. The estimable Grace Tye, in a superb costume, as Helene Alving gave an outstanding and moving portrayal of this woman, frustrated by her inability to break away from the constraints of her time. Conor Black played Helene’s son Oswald and was heart wrenchingly convincing as the frightened young man who had returned home to die. Another memorable evening – bravo Wargrave Theatre!”
Cornelia Hurley
From The Henley Standard:-
Some kind comments from the audience:-
“Just to say Sophie & I watched Ghosts last night and it was great. Great acting. Set was fantastic.”
Lesley x
“Dear all
I wanted to write and say how brilliant last evening’s performance was. Fantastic acting, beautiful set and costumes. You have all worked so hard and it has certainly paid off. Such a
difficult central theme was brought to life so well – the emotion was tangible.
Congratulations Director Chris!”
Celia
And finally – a message from our Chairman, Ann Roberts:-
“Hello All,
What a brilliant production! To hear all the fulsome praise every night, but particularly last night, as people were leaving was fantastic and that is why I am passing it on to you all. It could not have happened without each and everyone one of you, both on the stage and behind the scenes.
Chris – as your first time directing for us I have just one thing to say – superb! I do hope the trauma that goes with directing, and there is always some, has not put you off and that this will be the first of many in the ‘Director’s chair’.
There were many new faces in the audience for this production, from Reading I believe Hollie’s fan club, and particularly from Henley which I assume was the clean sweep at the Henley Drama Festival as people seemed to have heard about ‘the standard at Wargrave’.
Now have a rest – well just a little one, you’ve all earned it, before it’s on with the next production. Readings and auditions for the pantomime on 2nd and 5th November – BUT don’t forget to support Wargrave Youth Theatre’s production on 17th and 18th November.
Thank you all,
Ann”