Brief History of Ghosts in Plays

As long as there has been theatre there have been ghosts.

From one generation to the next ghosts have been used in stage productions for a variety of purposes. They obviously represent the supernatural and unknown but their roles have evolved over time.

Ghosts in plays often are betrayed as seeking revenge or giving guidance.

Sometimes they played the role of the antagonist who was a formable enemy or at other times they took on the role of a strong ally.

In early productions they were represented without human traits-- they were forces that were incapable of human emotions or complex thought.

A Roman philosopher, Seneca the Younger included ghosts in his plays. He represented them as entities that sought revenge for something that happened to them while they were alive. So Seneca was one of the first to indicate that ghosts were once human.

During medieval times ghosts took on a new role in theatre. They sought favors from the living. These ghosts now most often interacted with the living.

By Shakespeare’s time the ghosts on stage had come full circle. They not only had human traits they often were used to represent the human struggle.

Macbeth sees ghost of Banquo

In Macbeth when the ghost of Banquo appears Macbeth is struggling with his ruthless, evil side that has a desire for power. So this ghost is used to reveal what is in Macbeth’s subconscious.

King Hamlet's ghost

In Hamlet, the ghost of Hamlet’s father represents the forces that are swirling over Denmark after his murder. His ghost appears to his son to spur him on to revenge so the natural order of Denmark’s hierarchy can be re-established.

“I am the father’s spirit,

Doom for a certain term to walk the night,

And for the day confin’d to fast in fires,

Till the foul crimes done in my days of nature

And burst and purg’d away. But that I am forbid

To tell the secret of my prison house.”

                        --King Hamlet reveals his existence in purgatory

Marley's Ghost

In more modern stories about ghosts no doubt is left that these entities have human traits. For instance, in Dickens’ A Christmas Carol that was eventually adapted for the stage--the ghosts represented are as human as the living characters. *

*With the exception of The Ghost of Christmas Yet to Come.

The Superstition and Curse that Surrounds Macbeth

Actors say, “Break a leg” not “Good Luck.”

The Superstition

Stage actors are renowned for believing in a variety of superstitions. Often it is thought that if these superstitions are not respected, it can make or break a play’s chances for success.

For the 400 years, William Shakespeare’s play Macbeth has been performed, there has been one superstition that has always been followed faithfully.

It is considered bad luck for the cast or crew to say the name of the play Macbeth. Especially while inside the theatre, except during rehearsals and performances.

To prevent this, a long-standing tradition involves calling Macbeth by various other names.

Americans actors call the play, Mackers. Other euphemisms include: “the Scottish play” or “the Glamis comedy” or just “that play.”

Legend states this superstition began with the very first production of Macbeth in August of 1606. 

A boy named Hal Berridge was playing the role of Lady Macbeth when he became ill with a high fever. He died backstage, and Shakespeare then had to go on stage and play the character himself.

It is stated Shakespeare performed the part poorly. Later, he chewed out his fellow actors when he heard them complaining about “that play.” 

This supposedly started the superstition of not referring to Macbeth by name.

There is a ritual that is followed if someone slips and says, Macbeth. The actor or crewmember must walk out of the room and shut the door. They then turn around three times and say a “dirty” word or spit. Finally, they must knock on the door and ask to enter the room again.

The Curse

Many in the theatre world believe the play Macbeth is cursed. 

This is thought because Shakespeare used an authentic “witches chant” in the opening scene, to please King James l, who prided himself on being an authority on demonology.

1^st Witch:

“Round and round the cauldron go:

In the poisoned entrails throw.

Toad, that under cold stone

Days and nights has thirty-one

Sweated venom sleeping got,

Boil thou first in the charmed pot.

All: Double, double toil and trouble,

Fire burn and cauldron bubble…”

As it turned out, the King was displeased with the play, and the “witches” of the time were unhappy with Shakespeare’s negligent exposure of their craft. It is said they cast a curse on the play for eternity, as punishment.

The above belief is archaic, but the numerous instances of bad luck that have impacted productions of Macbeth over the years leave room for doubt.

Any seasoned theatre actor will gladly share a story that points to this curse’s existence. Here are just a few examples from the many performances of Macbeth, that have been plagued by this curse.

An actor playing the part of Macbeth in Amsterdam, in 1672, mistakenly substituted a real dagger for a prop and killed a fellow actor playing the role of Duncan in full view of the audience. 

In 1721, a nobleman in one audience got up and crossed the stage to talk to a friend during one scene--the actors chased him out of the theatre. He returned with the militia who set the theater on fire.

Two competing productions of Macbeth were playing in New York in 1849. One starred an English actor named William Charles Macready, the other starred an American actor named Edwin Forrest.

During one performance given by Macready fans of Forrest’s production were in the audience--they pelted Macready with chairs and fruit. 

The militia was called out and fired on the crowd. Twenty people died--many of them trampled to death. Thirty others were wounded.

In 1934, a British actor Malcolm Keen turned mute on stage and the actor who replaced him Alister Sim, famous for his film role as Scrooge, developed a high fever and was hospitalized.

Olivier as Macbeth

In a 1937 production, a 25-pound counterweight crashed onto the stage barely missing Laurence Olivier. It broke his sword, which flew into the audience where it struck a patron. This man, shortly afterward, died of a heart attack.

John Gielgud starred in another production in 1942. Three of his fellow actors--which took the roles of two witches and Duncan all died. The set designer committed suicide during this run.

Actor Harold Norman was acting in Macbeth on a Thursday when he was stabbed during the final sword scene in the play. He later died of his wounds.

Ever since Norman's ghost is seen on Thursday nights at the Coliseum Theatre in Oldham, on the spot where he was accidentally stabbed.

During an outdoor performance in Bermuda, in 1953, that starred Charlton Heston, a gust of wind blew smoke and flames being used to make the scene more realistic--into the audience--they fled. 

Heston was soaked in Kerosene-- he suffered burns to his groin and one of his legs.

In 1971, Roman Polanski, just two years after his wife Sharon Tate was killed by the Manson murderers, began to shoot a film version of Macbeth. The first day of filming his cameraman almost died in a freak accident.

In 1981, a production of Macbeth was being performed at the Lincoln Center in Washington D.C. 

J. Kenneth Campbell who played the role of Macduff, was mugged shortly after the first performance.

In July of 2013, one actor made sure the "show must go on." 

Kenneth Branagh's sword hit him during an opening battle scene--at St. Peter's church in Manchester. 

He was treated by an on-site paramedic, and then returned to the performance. After the final curtain call, he was taken to the hospital.

Many outside the theatre community discount this curse. 

It is stated that Macbeth has many fight scenes, and the lights are often kept low for effect, so this is more likely the reason for accidents.

This explanation does not explain the burning, or the riot, or the illnesses that have occurred over the years.