If An Enemy of the People is a battle about truth, both play and production relentlessly pursue its aesthetic correlative: how to depict reality. Today, Ibsen’s realism has become—in a greatly diluted form—ours. By embracing aggressive, non-realistic staging techniques, Ostemeier re-imagines Ibsen’s most radical goals of representing the world, and in fact demands that his production make us feel the shock of it, the shock of what is actually in front of us.
In a fundamental way, the enthusiasm for "Ghostlight" is its own defense, though it leaves many troubling questions unasked. The chief among them is content: what types of productions should this community produce going forwards? And in what ways? And why should anyone care?
Storytelling is an essential aspect of human consciousness. Without it we’d find ourselves trapped in the infinite daze of animal survival. With each new story, we evolve, often imperfectly, but sometimes with great hope.
Every end-of-year-theater list is a lie and a dream. A lie because they’re always wrong, and a dream because you forget almost everything. What we’re left with are the shards and fragments of lasting feelings -- the stuff that you can’t shake months, years or even a lifetime later.