Haunting and Humorous Modern Version of ëGhostsí Reveals Diverse Ibsen by Lisa Troshinsky The Shakespeare Theatreís updated version of Henrik Ibsenís ìGhostsî is refreshingly full of humor, despite its terminally bleak plot and theme. Funny Ibsen? Well, it makes the inherently tragic storyóan unhappy widow (Helen Alving) must face the ghosts of her failed marriage and the imminent death of her terminally ill, estranged sonóeasier to swallow. By comparison, many Ibsen productions progress from horrifically sad to gut-wrenchingly agonizing without coming up once for air, which can often appear unrealistic and less effectual. The sarcasm that permeates this production serves as an eerie backdrop to the playís painful plot. The contrast of emotionsólaughter and tearsóplus the fact that the actors are aware of their misfortunes enough to cynically laugh at them, makes the heartrending nature of Ibsenís story that much more haunting. The productionís added sense of irony stems from director Edwin Sherinís adjustments to Ibsenís original script. He has modernized the play, setting it in 1981 on a rain-beaten island off the coast of Maine, rather than in Ibsenís late 19th-century Norwegia n fjord. Instead of syphilis, Oswald Alving (the son) has contracted AIDS while living in New York City as a painter, and Helen Alving and her pastor friendís bone of contention is the morality of Oswaldís sexually explicit paintings, rather than controversial literature. ìGiven the fact that the play has been updated to 1981, there is definitely more sarcasm in the interpretation of these actors in this performance than you would probably find in the original text,î said Liza Holtmeier, The Shakespeare Theatreís publicist. Certainly, a modern-day version creates a deeper chasm between Mrs. Alvingís desire to live her life by the truthórevealing to her son and others that her dead husband was an abusive philandereróand societyís demand that she remain stifled in the traditional role of deferential middle-class wife and mother. The fact that she has wasted her life for the sake of holding together a lie is more disturbing when set during a time when women are supposedly more liberated. If Mrs. Alving doesnít actually break out of her conventional mold with direct action throughout most of Ibsenís play, in this production she does so through sarcastic intonations, laughter and body language. At the same time, this productionís Oswald, who knows his family is dysfunctional but is unaware of the particulars, peppers his homecoming with sardonic reactions to his mother and her self-righteous pastor. The jewel of this production, and the reason the humor works, is the performance of Mrs. Alving, stoically portrayed by veteran actress Jane Alexander, notorious in Washington, D.C., for her work on and off the stage. The pastor and others in this production read like straight men to Mrs. Alvingís dry, sarcastic retorts. Alexanderís Broadway career was launched after starring with James Earl Jones in Arena Stageís 1960s production of ìThe Great White Hope,î also directed by Sherin. But Alexander is possibly better known to local audiences for her four-year stint as chairwoman of the National Endowment for the Arts (NEA), when she fought Congress for denying artists funds based on the ìmoralî content of their work. How ironic that Mrs. Alvingís world of cynicism and suffering a long, losing battle mirrors Alexanderís life at the NEA. The parallel becomes clear when Mrs. Alving reprimands the pastor for criticizing her sonís canvases, which loom larger than life in her living room: ìFranklin, you know very little about what youíre judging,î she says. Alexander Pascal brings an explosive energy to the character of Oswald, the tortured, sickly artist who is weak with illness but fiery with passion and anger at the cards heís been dealt. Another gem is AndrÈ De Shields, who plays Jacob Strand, a carpenter who works for the pastor and the supposed father of Gina Strand, Mrs. Alvingís maid. In this production, both Gina and Jacob are African American. Sherin wanted to enhance the class differences between the Strands and the Alvings with a racial clash as well. Shields, known for the title role in Broadwayís ìThe Wiz,î fleshes out a relationship with the pastor that chillingly resembles slave and condescending master. Walt Spanglerís set is spectacularly realistic. An incessant rain falls on the Alving mansion, which consists of a lavish, yet conservative living room surrounded by a colossal glass flower conservatory that looks out onto a dark and brooding sea. The backdrop of clouds is mostly ominous but continues to illuminate and break way into sunlight by the playís end, after both Helen and Oswaldís secrets have been revealed. But the icing on the cake is Florida artist Mark Messersmithís paintings. They are mammoth, with furious brush strokes that depict men with men; a naked, slouching woman; and Oswaldís final painting of a naked man, lying on the floor, seemingly in painóa pose Oswald himself is destined to take. ìGhostsî runs through July 27 at The Shakespeare Theatre, 450 7th St., NW, and rounds out the theaterís 2002-2003 season. Tickets are $15 to $65. For more information, please call (202) 547-1122 or visit www.shakespearetheatre.org. Lisa Troshinsky is a theater reviewer for The Washington Diplomat.