Reporting: Monessa Guilfoil
The following synopsis is published on the Theatredatabase website:
Not only does this pioneer of modern dramatic art undermine in Ghosts the Social Lie and the paralyzing effect of Duty, but the uselessness and evil of Sacrifice, the dreary Lack of Joy and of Purpose in Work are brought to light as most pernicious and destructive elements in life.
Mrs. Alving, having made what her family called a most admirable match, discovers shortly after her marriage that her husband is a drunkard and a roué. In her despair she flees to her young friend, the divinity student Manders. But he, preparing to save souls, even though they be encased in rotten bodies, sends Mrs. Alving back to her husband and her duties toward her home.
Helen Alving is young and immature. Besides, she loves young Manders; his command is law to her. She returns home, and for twenty-five years suffers all the misery and torture of the damned. That she survives is due mainly to her passionate love for the child born of that horrible relationship — her boy Oswald, her all in life. He must be saved at any cost. To do that, she had sacrificed her great yearning for him and sent him away from the poisonous atmosphere of her home.
And now he has returned, fine and free, much to the disgust of Pastor Manders, whose limited vision cannot conceive that out in the large world free men and women can live a decent and creative life.
Henrick Ibsen is widely considered the “Father of Modern Drama.” Google Books says about the work of Ibsen:
His plays were considered scandalous to many of his era, when Victorian values of family life and propriety largely held sway in Europe and any challenge to them was considered immoral and outrageous.
Listen to the story: