A Ghost Story

Household Spirits

Just in time for Halloween, Theater Wit is presenting a ghost story that’s being advertised as a dark comedy. It’s not. Oh, there’s a ghost, a creepy, life-sized rag doll who mysteriously speaks, and a dysfunctional family of folks who collectively have enough problems to fill three plays. And that, in addition to being well over two-and-a-half hours long, is the biggest problem with Mia McCullough’s latest play. The script is overstuffed with so many topics, issues, ideas and themes that it’s difficult for the audience to fully grasp all of them. But a comedy this isn’t, although there are a few witty lines, unexpected situations and humorous side-eyed glances that provoke a chuckle, now and then. This play is a sad drama about a group of related people, each coping with different difficulties and trying to deal with grief.

The “spirits” in the title refer to several things. First, there’s the ghost of a woman who’s haunting the house where she died. Then there’s the doll, who may be haunted, and whose voice (provided by Suzanne Petri) only the audience can hear. Then there’s the holiday spirit that’s sadly lacking in this confusing household. And, of course, there’s the abundance of expensive spirit bottles that continually litter the set and play an important part in the story. 

When the lights rise at the top of the play we first notice a young man named Erik. He’s sitting at the kitchen island, totally tuned out and listening to music through his earbuds. Then, we see some movement upstage, and we notice there’s also a woman in the room, sitting on the kitchen floor with her head in the oven. This is Clara, Erik’s deceased mother. While he kind of senses her presence through something in the air, the two can’t really communicate with each other. You come to understand that Clara’s spirit is haunting the house in which she committed suicide—although how and when this tragedy occurred is up for debate. She can touch things, but not living people, much to Clara’s chagrin.

It’s the holiday season, which in this household acknowledges both Christmas and Chanukah. Clara, who’s now a ghost, was married to Phil, who is an alcoholic. Erik is the biological son of Phil and Clara. Since Clara suffered from mental illness there’s the fear that her son has inherited her affliction. Because Clara was Jewish, a plastic, battery-operated menorah reluctantly keeps her memory alive during the eight-day celebration.. 

After Clara’s death, Phil married Evelyn, a woman who, like Phil, works behind the scenes in the entertainment business. She’s a highly energetic, no-nonsense business woman endowed with a raging, Type A personality. Evelyn brings her spoiled, college-age daughter, Rox, to her new marriage. Evelyn used to be married to Leo, Rox’s biological father, who’s also Jewish. Leo (played by Joe Zarrow) was just released from prison, convicted of fraud. He keeps turning up at the house because he’s trying to get hold of the life-size doll that was willed to Rox from her grandmother. He believes that it contains something valuable.

The household is run by the best character in the play, Angela. She’s been the family’s housekeeper for years. Without overstepping her boundaries, Angela is always there to keep the house running smoothly and serves as a mother figure for Erik, sometimes even to surly Rox. But Angela’s most important involvement in the story, besides bringing some normalcy to this family, is that she’s clairvoyant. Angela is the only person who’s fully aware of Clara’s presence. She can sometimes hear the ghost and, like everyone, often observes Clara’s presence as she rattles pots and pans and opens the pantry door. This small cupboard is where Erik’s mother used to take him as her “fortress.”

I wouldn’t recommend this play at all if not for a few positive elements. First is my admiration for director Eileen Tull. It took a talented artist to effectively stage this play and create a (somewhat) coherent production out of Mia McCullough’s confusing script. Brava to Ms. Tull for the hard work she put into this presentation. She achieved wonders through her fine guidance and leadership navigating her cast to create these strange characters. Also on the positive side is the beautiful scenic design from Manuel Ortiz, assisted by Carl Herzog. The kitchen setting is both realistic and artistically rendered. Properties designer Adam Weiss-Halliwell certainly did a monumental job of rounding up all the many perfect kitchen accoutrements, especially a multitude of booze bottles. In addition, Rachel M. Sypniewski’s costumes speak volumes about these characters through their style, color and fit.

The cast is terrific, another reason for recommending this production. First, and foremost, Cindy Gold—who is always the most grounded and completely involved actor in any show—makes Angela an absolutely real person. Ms. Gold brings dimension, nuance and layers to this hard-working woman who holds the keys to this household, in more ways than one. Every line she speaks, every gesture and glance she offers, speak volumes about this lady and her relationship to the family. As a supporting character, Angela is the one person about whom theatergoers will leave knowing the most. I feel like she’s someone I’d enjoy spending time with, too. Ms. Gold’s Angela is smart and compassionate, without being fawning; she’s talented and efficient, while trying to deal with a household of strange people, and a ghost. Everyone else has a variety of ever-changing wants and needs, but Angela is the one constant in their lives.

Doug MacKechnie is brilliant as Phil. The character spends the majority of his stage time valiantly trying to stay sober. His difficult and valiant efforts are constantly thwarted by Evelyn and Rox, who don’t really help or support him. His new wife doesn’t think Phil is really an alcoholic since she drinks as much as him. Phil attends AA but he does so alone. After a company Christmas party at his home, Phil falls off the wagon. It’s tragic and sad. But callous Evelyn (a whip smart Jennifer Jelsema) shows little empathy. Rox, played with teenage entitlement by Te’a Blum, also shows that the apple doesn’t fall too far from the tree. She finally begins to realize that she and her younger stepbrother, Erik, are really birds of a feather. Erik is nicely played by newcomer Nathan Hile. 

And Ilyssa Fradin must also be commended for her intricate portrayal of Clara. She does a terrific job in the difficult role of playing a ghost. She plays the household spirit, primarily with pixie-like whimsy. Ms. Fradin also shows much care and a deep maternal concern for her son, Erik. The only confusing element is what prompts Clara to turn maniacal in the final scenes. Suddenly she’s filled with evil. It’s an abrupt change in her character that feels artificial, although this is just one more problem with this script.

Mia McCullough’s new play, now having its world premiere in Chicago, is too long and quite confusing. The prolific playwright tries to cover far too many ideas and themes in this script. If the play were edited to eliminate some of the many issues in the story it would be much clearer and more entertaining. The director and her cast have done their best with all that they’ve been given in this ghost story, but, in the end, it’s really all too much.               

Somewhat Recommended

Reviewed by Colin Douglas

Presented October 6-November 11 by Theater Wit, 1229 W. Belmont Ave., Chicago.

Tickets are available in person at the door, by calling the

box office at 773-975-8150 or going to www.theaterwit.org. 

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.