The House of the Spirits
by Caridad Svich Based on the novel by Isabel Allende
I first read the novel version of The House of the Spirits in high school, where we were thoroughly scandalized by most of the content. However, we also learned a lot about Chilean history and the tragic events of South America’s guerra sucia, with the ample context that the novel provides. It’s an epic tale spanning multiple generations of women, which makes it something of a bear to think about adapting for the stage. However, Caridad Svich is a brave and innovative adapter, and she approaches this mammoth task with creativity and music.
This version of The House of the Spirits follows Alba, a political prisoner in South America in the late 1970s, as she reconstructs her family history, starting with her grandmother Clara’s many journals. This family history doesn’t shy away from the nastier side of things. Svich recommends leaving Alba onstage as the past plays out and using projections to overlap and protect in savage and intimate moments. She also elevates the plot through song in many moments — so much so that you could almost call this piece a musical. It certainly requires a cast that can all handle singing and musical movement.
Casting-wise, this piece would be best done with an all Latine (or at least Hispanic) cast. If you can pull that off, it offers a lot pedagogically. The novel is still one that people point to as a seminal example of Magical Realism. Svich’s writing style is reminiscent of María Irene Fornés, which offers a lot to explore dramaturgically. I think this is an excellent classroom piece. The technical elements leave a lot of room for imagination and interesting design choices.
Here’s some other helpful info:
Genre: Drama, Play with Music
First Production: 2009
Cast: 7 women, 4 men
Casting Opportunities and Challenges: As many characters as possible should be Latine.
Ideal Performance Space: Proscenium, Site Specific
Technical Opportunities and Challenges: This offers a great opportunity for a dramaturg. There are also big projection challenges and opportunities.
Ideal Production Company: Educational and Regional Theatre
Passes the Bechdel Test: Yes!
Themes: Centers Women, Centers people of color, family drama, Latin American politics adaptation, Period piece, Adaptation, Literature, Writers, Rebellion, Dirty War, Chile, Latin America, Legacy
Major Dramatic Question: How did Alba come to be in this situation? Will she reconcile her past with her present?
What was the playwright trying to do? Was she successful?
Svich is trying to convey the overall themes and mood of the novel The House of the Spirits. I believe that she did well with the complex plot she was given and successfully focused the piece on Alba and her exploration of her family legacy.
Why this play now?
Magical realism/fabulism is an incredibly popular genre nowadays, and the title recognition that this offers has a chance to bring in audiences. It’s imaginative and expresses its elevated themes well. It’s also great for educational theatre because it exposes students to an important piece of literature.
Up Next on my TBR:
Heroes of the Fourth Turning by Will Arbery
Count Partinuplés : a comedia by Ana Caro
Wonderful World by Richard Dresser
What great plays have you read lately?