Challenging, intimate, entertaining: Ghosts review

Ghosts is one of Henrik Ibsen’s lesser produced plays. Robert Lowe’s production at the Loft Theatre, in which he stars, thankfully resists the urge to depart dramatically from the naturalistic setting Ibsen thrives on. However, the stylistic parameters were still stretched, and the play benefitted from subtle and effective experimentation.

As the audience filtered in they were greeted by Mrs Alving, cross-stitching in centre stage, which immediately made the performance intimate and engaging. The set was comprehensive though minimal; there were enough necessaries to portray convincingly a home in occupation, but not too much as to clutter the stage or distract from the dialogue. This light and airy decor, perhaps in keeping with the effortless style so often associated with products of Scandinavian origin, set the tone for the rest of this predominantly charming performance.

The light and airy decor, perhaps in keeping with the effortless style so often associated with products of Scandinavian origin, set the tone

The better interpretations of Ibsen are usually staged as an open book, allowing the text to shine and gain traction amongst the audience and socio-political context of the time. The actors served this end well; the sparky dialogue kept the audience engaged throughout all three acts, without key themes being laboured. Each audience member was afforded the opportunity to take as much or as little they wanted, attaching their own perspective in the process. Showing the audience the respect of allowing them to identify the more profound aspects of the piece themselves, made for a more meaningful performance. Whether the play achieved, as was Mr Lowe’s intention, a resonance with issues ranging from immigration to gun control, is questionable. However, the production did vigorously explore themes such as legacy, feminism, and rural habitation, prompting further audience contemplation beyond the confines of the venue.

Robert Lowe gave a strong performance as Pastor Manders. Perhaps his characterisation was a little under-developed and one-dimensional, though this may be attributed to the text not leaving enough room for a more layered interpretation. Julie Godfrey shone as Mrs Helen Alving and, despite the occasional fluff of a line, her subtle performance was absorbing throughout. The true star of the show, however, was Jeremy Heynes: his masterful performance as Jacob Engstrand, the aging fool with a self-admitted susceptibility to drink, managed to endear him to the audience, despite his character’s largely improper intents and general misbehaviour. His projection and delivery were flawless and it was truly a delight to watch him bumble across the stage, like a family friendly Nordic Frank Gallagher.

Whether the play achieved, as was Mr Lowe’s intention, a resonance with issues ranging from immigration to gun control, is questionable

It was in part because of such strong performances on the behalf of Godfrey and Heynes that the performances of Leigh Walker as Regina Engstrand, and Janeks Babidorics as Oswald Alving, appeared relatively weak. Walker’s projection was lacking from start to finish and correspondingly her movements also appeared muted and irregular. Such a performance could largely be due to a lack of confidence, which is a shame, as all the elements for a very believable Regina were present. Babidorics’ performance improved as the play went on, especially after he began to affect drunkenness, which gave a fluidity and playfulness that his stiff performance had until then lacked. His accent became more sure of itself in the final act, and he played a very believable degrading Oswald.

This was a captivating production that succeeded in walking the fine line between challenging its audience and remaining entertaining. By employing subtle yet imaginative transitions with regard to lighting and blocking, this engrossing and intimate performance was a real treat.