GHOSTS Returns to the Lyric Hammersmith

First things first: if you’ve never seen an Ibsen play, GHOSTS is arguably the best place to start. Originally premiered in 1882, it caused a sensation for its candid portrayal of hypocrisy and moral rot beneath the polished veneer of a respectable household. The story revolves around a mother, her late husband’s dubious legacy, and the haunting truth of inherited secrets. Now, in Owen’s modern rewrite, set to run from 10 April to 10 May 2025, we’re promised an England drenched in contemporary complexities. The characters have smartphones, societal norms may have evolved, and yet the dramatic tension remains electric, with Ibsen’s fingerprints all over the family’s internal turmoil.

For theatre aficionados, the creative pedigree behind this show is enormous. Director Rachel O’Riordan reunites with Gary Owen after their success on IPHIGENIA IN SPLOTT and ROMEO AND JULIET, both praised for their raw emotional intensity and nuanced updating of classic stories. Their proven synergy bodes well for an adaptation that aims to lift Ibsen’s lines off the page and set them ablaze with modern immediacy. Past collaborations indicate an ability to find a burning question at the heart of a text—like “What does duty look like in a world full of personal heartbreak?”—and turn it into an unforgettable theatrical experience.

That’s hardly the only reason GHOSTS promises a superb night out. The top-tier cast includes Patricia Allison as Reggie, Callum Scott Howells as Oz, and Victoria Smurfit as Helena. With credits ranging from television hits to stage triumphs, these actors bring a compelling blend of youthful energy and seasoned gravitas. Rhashan Stone appears as Anderson, while Deka Walmsley takes on Jacob, rounding out an ensemble guaranteed to embody every ounce of intensity that Ibsen’s story demands. Already, the anticipation is buzzing across social media, not least because Howells has described the text as “an exciting ride,” emphasising the new adaptation’s modern swagger.

The setting: The Lyric Hammersmith, an iconic west London venue known for fostering work that marries risk-taking with artistic excellence. What better place to watch a 19th-century Norwegian drama reborn for the 21st century? If you’ve not been there before, imagine an airy space where heritage coexists with a cheeky sense of innovation—rather apt for a script that wants to push boundaries while preserving Ibsen’s moral tension.

From Intricate Set Designs to Contemporary Jabs at Tradition

But let’s talk about the production team who’ll conjure this world before our eyes. The creative lineup is a who’s who of theatre talent, beginning with set and costume designer Merle Hensel, whose aesthetic taste frequently balances stark minimalism with evocative detail. Meanwhile, lighting designer Simisola Majekodunmi and sound designer Donato Wharton will shape the atmosphere—no small feat in a piece where the unspoken horrors matter as much as what’s spelled out.

The potential for atmosphere-laden staging can’t be overstated. GHOSTS thrives on the threat of hidden revelations—like a house filled with corridors harbouring skeletons in every alcove. If previous Hensel sets are any indication, we could see looming backdrops that mirror the psychological claustrophobia of a family on the brink, or costuming choices that subtly hint at each character’s dual nature. Music, too, is in good hands with composer Simon Slater, whose work often lends an almost cinematic sweep to theatrical storytelling.

Under the direction of O’Riordan, who once breathed vivid life into Shakespeare’s star-crossed lovers in ROMEO AND JULIET, one can expect a nimble approach to Ibsen’s text—favouring tension, confrontation, and emotional crescendo. She has a track record of guiding her casts towards layered portrayals, ensuring each character’s emotional journey unfolds with heartbreak and hope in tandem. Whether it’s Oz’s rebellious fervour or Helena’s maternal conflict, these roles might surprise theatregoers by feeling simultaneously timeless and achingly current.

A Curiously Modern Secret

One aspect that intrigues me is how Owen’s script might transpose the taboo subject matter of Ghosts into a world saturated with digital footprints. Originally, Ibsen’s text tackled topics like venereal disease and marital deception—scandalous material for the late 19th century. Now, we’re in an age of social media confessions and internet exposés. Might we see parallels in Helena’s attempts to shield her family’s reputation in an era where privacy is more fragile than ever? It’s a quietly radical angle to explore: how does a mother’s control over her late husband’s narrative stand up to our modern hunger for authenticity, revelations, and instant news?

Perhaps Gary Owen has injected the script with telling references to Instagram posts or hush-hush hospital records, bridging the gap between Ibsen’s era and ours. Such specificity can yield fresh insights: the difference between concealing an ugly truth in a small town, historically, versus maintaining illusions in a digital world might prove as big as a gorge. Or maybe, ironically, some things never change—families still bury secrets, local communities still gossip, and heartbreak remains heartbreak, no matter the century.

Delving Into Gary Owen And Rachel O’Riordan’s Collaborative Journey

For anyone who followed Iphigenia in Splott, you’ll remember how Owen and O’Riordan took the Greek myth of Iphigenia and shaped it into a raw, contemporary narrative about a young woman in Wales. The result was both heartbreaking and electrifying, praised for its unflinching portrayal of community and sacrifice. Then came Romeo and Julie, a reimagining of Shakespeare’s star-crossed lovers, which similarly found universal emotion in a modern setting.

The lesson? Gary Owen’s sense of tragedy is never distant. He takes iconic narratives, places them in a gritty realness, and finds heartbreakingly modern resonance. Rachel O’Riordan, in turn, draws visceral performances from her casts, forging that vital bond between the audience and the characters’ dilemmas. If that synergy holds, GHOSTS could well become a masterpiece—a show that speaks to the entire arc of family secrets, generational trauma, and societal façade in a way that feels both faithful to Ibsen and shockingly present.

A Dramatic Invitation

If you’ve any inclination to see how 19th-century scandal can transform into 21st-century confrontation, if the notion of an updated Ibsen piece laced with urgent modern detail piques your curiosity, then GHOSTS at the Lyric Hammersmith should land squarely on your radar. It’s not merely a revival; it’s an overhaul. With Victoria Smurfit stepping into the fraught maternal role of Helena, Callum Scott Howells as the idealistic, troubled Oz, and Patricia Allison as Reggie—a part that suggests some brilliant reconfiguring of Ibsen’s supporting roles—this production looks set to smoulder with tension from its opening minutes.

Add to that the theatre’s legacy of boundary-pushing productions and a creative team unafraid to dig for emotional truth, and you’ve got a recipe for a night that will linger long after you’ve left the seat. Under the guidance of O’Riordan and Owen, the delicate interplay of seething resentments, illusions, and shocking revelations might just find its fullest expression yet.

And perhaps that’s the real genius of repurposing a classic text like Ghosts: sometimes the best way to understand what remains universal in theatre is to confront it head-on in modern clothing. In a world that’s changing at breakneck speed, it can be oddly comforting to discover that certain emotional struggles—family duty, love turned sour, regrets that cling like shadows—still bind us across time. So, mark your calendar for 10 April to 10 May 2025. An old tale is about to speak directly to the present. And if it’s done right, it might just feel more alive than ever.