Ghosts: Classic clings to duty

by Jenni Morin

The Classic Theatre continues the theme of keeping up appearances with this season’s second show, Henrik Ibsen’s Ghosts. Each character is haunted by secrets, past regressions and feigned propriety and unable to live happily while the judgmental rule of morality forces them to live in darkness with their ghosts.

Written shortly after one of Ibsen’s most famous works, A Doll’s House, Ghosts was meant to shock and appall audiences and critics. It did just that when it premiered in 1882 as it discussed such topics as adultery, venereal disease, illegitimate children, premarital cohabitation and flat out deceit. The play opens with Regine Engstrand, Mrs. Alving’s maid, arguing with her father Jakob Engstrand, who wants her to come live with in a sailor’s hostel he hopes to open. Pastor Manders, an old friend of Mrs. Alving and her financial advisor, comes to finalize the paperwork to dedicate a new orphanage to her late husband. Osvald Alving, Mr.s Alving’s son, has returned home from painting abroad in Paris because of his father’s passing and an illness he inherited from him. As the debauched past of Mr. Alving comes to light, the ghosts of these transgressions turn the lives of everyone involved upside down.

Ghosts constantly puts duty and ideals at war with truth and insists that deceit breeds unhappiness and ruin. The imagery of the light juxtaposed to the dark, where the ghosts live, is quite beautifully illustrated in the script. Osvald feels the full burden of his inherited disease as it manifests physically and eats away at his brain—quite a visual for how secrets can fester and consume. Ibsen makes his stance known early in the play during the pivotal scene when Pastor Manders confronts Mrs. Helene Alving about the books she’s been reading. This integral scene lacked the finesse necessary to nail Ibsen’s point in this production. At times the dialogue seemed chaotic as actors jumped their lines, but was calmed by the telling looks and silences. The staging and blocking by Director Omar Leos was often the driving force that kept the pace for the show as the actors seemingly danced around the stage to involve the audience positioned in stadium seating on either side.

As always, Andrew Thornton as Pastor Manders was the anchor for the entire cast with a superior and consistent performance. Sam Carter Gilliam as Mrs. Helene Alving was definitely in her element with this period drama. She embraced the melodramatic tendency of the script, especially in the scenes she shared with Trevor Chauvin, who fully committed to the self pitying romantic “reinstated son” Osvald. Julya Jara and George Burnette, as Regine and Jakob Engstrand, were steadfast and impeccable.

The set, designed by Ric Slocum, mirrored the staging as the two entrance and exit points toyed with dimensionality. The skewed placement of the partially hanging set was a wonderful commentary on how things appear depending on the point of view. The score, written and performed by Darrin Newhardt, was ethereal and chilling, a lovely complement to the understated technical elements, which brought the show together.

Classic’s production of Ghosts is a scandalous journey through deep dark secrets, complete with subtle gems of brilliance and a cast fit for Ibsen’s ire and candor.
Ibsen warns that secrets should be abandoned, people should live openly and not to judge too quickly or our sins will haunt us and our descendents. While some of the consequences to not following this advice seem harsh and graphic at times, it is the blunt and unabashed truth which continues to make Ghosts pertinent and impactful. Audiences should delve into shameful embarrassing secrets, discover their own definition of immorality and form their own opinion of this contentious drama.


Ghosts will run at Classic through November 23, 2014 with performances at 8 p.m. on Thursdays, Fridays and Saturdays and 3 p.m. on Sundays. For more information and to purchase tickets, visit classictheatre.org.

Kids4Kids supports immigrant children, uses art as a vehicle for change

by Jenni Morin

Last weekend, TFC premiered the short film La Llorona at ArteFest. The two-day Día de los Muertos celebration was anchored by the film which used the legend of the weeping woman to illuminate the issue of immigration, especially the harrowing tales of children crossing the border and often caught in violence on their way to freedom. This weekend, audiences have an opportunity to take action on this issue with Kids4Kids.

On Saturday, Nov. 8 at 2 p.m. The Playhouse San Antonio, Tova Rubin and Melinda Tucker will present Kids4Kids, a benefit performance aimed at raising funds and awareness for unaccompanied refugee and immigrant children. The is sponsored by Pioneer Energy Services and Shannon Sedgwick Davis and Sam Davis Foundation, allowing 100 percent of ticket sales to go directly to organizations stepping up to the cause.

Through the lens of children directly impacted by the work of St. PJ’s Children’s Home and RAICES to combat the immigration crises, the program will feature approximately 100 youth performers from various performing arts organizations around San Antonio. “The theme of the show is diversity, coming together to help children in need,” says Rubin. 

The performance is for children by children in that each piece selected displays compassion and empathy while using the power of the performing arts to tell the story of hope, love and friendship, Tucker explains. After learning of the immigration crisis this summer with an increasing influx of unaccompanied minors flooding the borders from Central America, Tucker teamed up with Rubin and Playhouse CEO Asia Ciaravino who pitched putting together a show to benefit the two organizations “on the front lines of serving the children by providing a safe shelter, compassionate counseling, nutrition, education, hope, love and legal support.” Audience members are encouraged to reach out to organizations like St. PJ’s and RAICES to offer help either monetarily, through donations of needed items, through volunteering or becoming a foster parent.

More than 66,000 minors crossed the southwest border illegally in fiscal year 2014, which is an 88 percent increase from 2013. Children are often fleeing extreme violence, oppression, trafficking and abuse, but they are making the journey alone without the promise of family, shelter or safety on the other side.

Kids4Kids uses the arts to tell this story to cut through the political nature of the issue and bring back the human side. “Using the arts as a vehicle of change is so important because it tells the story on an emotional level that is difficult to achieve by just reading the news or seeing a sound bite while flipping through the news,” Tucker says.

She thought it was important to give a face to the issue by involving kids who may be the same age as many of the children immigrants. “Sharing their talents for other kids gives them an opportunity to be thankful for all of their many blessings,” says Tucker. “It also provides the opportunity for the kids to learn the importance of using their creative gifts for the good of the community.”


Kids4Kids will have one performance only on Saturday, Nov. 8, 2014 at 2 p.m. in the Russell Hill Rogers Theatre at The Playhouse San Antonio. Tickets may be purchased online through theplayhousesa.org or at The Playhouse box office. Those interested in making an additional contribution or unable to attend the performance can do so online at www.crowdrise.com/Kids4Kids.