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Ibsen’s Ghosts is an extraordinary play. Although it was first performed in 1882, the ground-breaking treatment of issues such as illegitimacy, infidelity, the power of the church, societal expectations of women and STDs remain eye-opening and important to theatrical history – with its concerns still somewhat taboo today. Despite studying the play as a Junior Fresher, I had not yet seen a live performance until Glass Wall’s production at the Sean O’Casey Theatre and was delighted to attend. Opening night, a full audience, a daring play – the event had all the makings of a fantastic theatrical experience and did not disappoint.

In renewing well-loved and well-known plays, the tendency of today’s theatre is to reimagine them in a modern context, often to great acclaim. Under director Larissa Brigatti’s instruction, Glass Wall’s production remained authentic in spirit, in aesthetics and in the script. This added a touch of the bona fide, a very much welcome change in ambiance after a Dublin Fringe Fest of abstract work. Ghosts’ set design was simply gorgeous: black curtained walls, several lush velvet armchairs, even an ornate fireplace, alongside trinkets and books to convey the richness of the 19th-century setting. The production achieves a credible and balanced mise-en-scene.

The ensemble tackles the dense script with impressive ease. Notably, Carly Dowd as Pastor Manders plays the character of the righteous parish magistrate with an authority of language as well as drollery. Eoin Groome as ill Osvald is a classic bohemian artist type, home from Paris for the ten-year anniversary of his father’s death, is a bright and commanding stage presence. As a naturalist play set over one day and night, the constant revelations and reveals keep the audience glued, piecing together the puzzle of the deceased father’s life and the tangle of lies he left. Relationships between the small cast are evidently tight, bouncing off each other’s heightened emotions without conveying melodrama.

While at times the scenes feel quite long, it is due to Ibsen’s heavy script rather than the ensemble’s efforts. Ghosts asks whether looking to the past is courageous or cowardly, whether the ghosts of our family can decide our future, whether accidents are ever truly without meaning. The play’s near-tragic conclusion was touchingly executed, leaving the audience in stunned emotion before bursting into applause. I look forward to seeing what Glass Wall and Larissa Brigatti achieve in future productions.