Ghosts as a text seems particularly tied to its period in its discussion of prejudices and gender roles. It was only after watching a production of it that I began to grasp the dynamism and presence Ibsen brought to the stage with his controversial portrayal of a man dying of an STD and the examination of a broken down family through the eyes of the woman who has sacrificed her happiness for the sake of image.

One of the many challenges of doing classical theatre and having it appeal to the larger population of potential auditionees is finding the relevance of the certain text in this particular moment and with this specific pool of actors. As much as theatre is meant to be done by and for the community, with joy and fulfillment being central, productions can be stronger when they have a clear purpose and connection to the community. Repurposing the context of 1880s Norway to 1980s New England derived from my central desire to focus on the show's main metaphor – "ghosts" – as a tracing of generational trauma. For many of us students, our parents grew up in the 1980s, experiencing Reagan's presidency first-hand, and possibly suffering from it. Ever since the resurgence in "80s nostalgia" films and content I've desired to see more representations of the truly chaotic and disruptive decade for so many impoverished, BIPOC, and LGBTQ+ people. While Ghosts focuses on the upper class, it does center around one universal theme: family. The push for the return of the Christian morality family model in the 1980s has been detrimental for all. It has made the world unsafe for anyone who does not fit the model of a "Chrisitian" in the eyes of White America. Our show aims to dismantle the myth that Reagan pushed for and expose the truth of how stigma destroys.

Lastly, I would like to thank all the cast and crew for their dedication and time. Especially to my assistant director, Mikaila, I would not be able to have gotten this put together and made it as truly moving as it is. Enjoy.

   
-Siena Maxwell, Director