Winner of the 2011 American Theatre Critics Association Francesca Primus Prize.

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A play by Caridad Svich, based on the novel by Isabel Allende

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Winner of seven 2009 HOLA Awards consisting of Outstanding Achievement in Playcreating.Winner of 3 2009 Premios ACE (Latin ACE Award) consisting of Best Dramatic ProductionWinner of 5 2010 Ovation Awards from The Denver Blog post consisting of Best ProductionListed as Number One Theatre Production of 2010 by the Denver PostListed as Top Five Theatre Productions of 2010 by the Minneapolis Star-Tribune

In Print

“Caridad didn’t try to follow the plot. She recreated the environment and spirit of the book. She has actually a really original, extremely one-of-a-kind type of mind. It simply goes wild and I admire that. She’s not restricted by anypoint.” – Isabel Allende*

Full-size in 4 acts. Fluid setting. Cast: 7 women, 4 guys.May also be percreated via 6 woguys, 4 males.Original songs in manuscript by Caridad Svich.Text conceived through video and puppeattempt as important production components.Script is easily accessible in an English-language, Spanish-language and also a bilingual version: all written by Caridad Svich.

Synopsis:

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“The Housage of the Spirits,” publiburned in 1982, is a National Bestseller and Isabel Allende’s debut novel which catapulted her to literary stardom. When Isabel Allende’s novel initially appeared on the international literary scene, it was commonly heralded as a feminist response to Gabriel García Marquez’s “One Hundred Years of Solitude”; it continues to now to captivate readers throughout the human being as it has actually been interpreted in over 20 langueras.

Charting the increase and fall of the Trueba family in an un-named Latin Amerihave the right to nation (reminiscent of Chile), Caridad Svich’s play spans the 1920s via the 1970s, as the country moves with substantial sociopolitical changes that finish in a devastating dictatorship. The play is told from the sensorial point of check out of the youngest of 3 generation of womales, Alba, who is organized as the play opens, in a torture room by the federal government. The swirling memories, frightening and amutilizing, lyrical and fantastic, illuminate the phase as Alba documents her family’s background and also eventually finds the stamina to recover her very own story. This brand-new re-imagining of “The Housage of the Spirits” is a bold and daring theatre piece that captures the force and sensuality of Allende’s vision via Caridad Svich’s distinctive poetic heart.

What People are Saying:

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“Like rain when it’s dry and also ice cream in the summer – you can’t say no to the creating of Caridad Svich; you require it, you deserve it. Her mind is generous and also nimble; she is qualified of subtlety at the highest levels of refinement, and is additionally inexhaustibly cruel (ice cream is cold as well as sweet) – she is fearless, and also will go to eexceptionally limit in writing an experience. Her talents and perseverance make her a dreamy enhance for Allende; I can’t imagine a finer adaptor. She has understood a piece that is respectfully literary, while likewise affirming her own clear voice; the item is completely theatrical, and also Svich does much here to crack the timeless troubles of the epic on stage – the epic is for her a lot more than an buildup of event – it is the risk of the boundless. Here characters and stories continually threaten to spiritualize, yet eventually remain in their blood. One of our lead authors is composing at the peak of her form. House is a success, a gift.” Erik Ehn, playwright

Publication

English language version (in draft prior to Colorado New Play Summit at Denver Theatre Center) in global theatre journal TheatreForum Issue No. 36, edited by Theodore Shank, Department of Theatre and Dance, University of California-San Diego (ISSN 1060-5320, 2009). (www.theatreforum.org)

Press for The Housage of Spirits

Feature news short articles, radio features and podcasts in the US in English language and Spanish language press:

Reviews of London, England also PremiereOct 28-November 30, 2019 (extended now until December 14)

Reviews of Gala Hispanic Theatre (DC) production:

Reviews of Denver Center Theatre (English-language) production:

Denver Center Theatre Company manufacturing push photos:

Reviews of Repertorio Espanol, NYC (Spanish-language) production:

From the Key Street Theatre, Houston (English language production, (before updated draft):

From the Latin American, Spanish-language premiere at Teatro Mori in Chile (2010):

From the Phoenix, AZ production:

From Costa Rica production:

From Mexico City production:

 Última semana deLa casa de los espíritus, Frente, By Abraham Huitrón, May 13, 2014

Script History

Script history (in the US):

Originally Commissioned and also produced in February 2009 (in Spanish-language) by Repertorio Espanol, NYC under the direction of Jose Zayas via Video Design by Alex Koch, Puppet design by Emily DeCola, Soundscape by David Margolin Lawchild, Choreography by Silby means of Sierra, Scenic, Lighting and also Costume Deauthorize by Robert Federico. (www.repertorio.org)

First English-language production in September 2009 at Key Street Theatre, Houston, Texas under the direction of Rebecca Greene Udden. (www.mainstreettheater.com)

English-language version further occurred at the February 2010 Coloraperform New Play Summit at Denver Theatre Center.

Premiere of revised English-language production in September 2010 at Denver Theatre Center in Denver, CO under the direction of Jose Zayas. (www.dcpa.org)

Premiere of bilingual variation in October 2010 at Mixed Blood Theatre in Minneapolis, MN under the direction of Marcela Lorca through musical score by Victor Zupanc. (www.mixedblood.com)

Script history abroad:

Latin American premiere in June 2010 (in Spanish) at Teatro Mori Parque Arauco, Santiback, Chile through a pre-premiere in Humberstone, Chile, created by Ana Maria Palma and AMPY Producciones, Compania Teatro de Camara, Cia Minera Dona Ines de Collahuasi, Corporacion Patrimonio Cultural de Chile and also the US Embassy in Chile under the direction of Jose Zayas with video architecture by Alex Koch. Cast: Francisco Melo, Blanca Lewin, Ana Maria Palma, Coca Guazzini, Julio Jung, Loreto Valenzuela, Daniela Lhorente, Gabriela Medina, Josefina Velasco, Jose Palma, Julio Jung Duvauchelle, Catalina Palma.

See more: Why Is My Butt Darker Than The Rest Of My Body, My Butt Is Darker Than The Rest Of My Body

This Teatro Mori Parque Arauco is booked for a rerevolve engagement in January 2011 as component of the Santiago a Mil Festival, Chile.

Trailer for Costa Rica productionVideo intersee for Costa Rica production

Sneak Peek of Webster Conservatory Production

trailer for the Mexico production

2 min excerpt from the DC manufacturing at Gala Hispanic Theatre

From Mixed Blood production

What People Have Said

Selected important and market responses:

“Playwideal Caridad Svich, working in unwidespread unity with director Jose Zayas and a height creative team, makes what’s vivid on the web page a starburst on the phase. Their initiatives not only make the a lot of harrowing facets of Allende’s tale more palatable for us to watch, they help accomplish a near-perfect balance of violence and visual poeattempt.” — John Moore, The Denver Post

“The power of Caridad Svich’s take on Isabel Allende’s commemorated novel lies in the buildup of imeras, actions and also passionate words that the play pours out into the audience, and the bitter sadness at its heart. … Svich and also Allende attach the individual and also the political and also show individual actions getting to forward through time, whether to damn or to conserve.” –Juliet Wittguy, Westword

“Allende’s epic novel bursts forth in the circular Gap Theatre of DCTC… Caridad Svich’s script delivers a series of appropriate commentaries on the haves and also have actually nots.” –Bob Bows, Variety (2010)

“This brand-new adaptation is lean, stripped of subplots at just over half that size in the original Spanish. The context in which the novel was created, in exile from the Pinochet dictatorship that had eliminated Isabel’s uncle, Salvador Allende, is front and also center in the form of Clara’s granddaughter Alba, that is raped in prison for sustaining the socialist party. She never leaves the stage and typically interacts via her ancestors, implicitly making the suggest that the armed forces regime cannot be regarded in isolation from centuries of class warfare. So, the magic in this version is more than a diversion, it is an escape from fact. By making innovative use of video the play brings Clara’s diaries to life. A spectral hand also creating across the set, when an earthquake strikes, a line drawing of the house shakes violently on an overhead projector. It’s surprisingly effective.” Andrew Purcell, BBC Radio (The Strand)

“A tumultuous and supernatural household saga that restores the story’s vivid magical realism. Svich, who additionally composed the play’s pretty songs, efficiently condenses the saga.” Anita Gates, The New York Times

Symbolism and magic realism take a back seat to human drama in Caridad Svich’s lyrical and also satisfying adaptation of Allende’s novel. A movingly epic family drama.” Andy Propst, Backphase.com

“In unfolding the story as Alba’s flashearlier, Svich properly nails the book’s central drama: the means Allende interroentrances her family’s – and, by expansion, Chile’s – bloody history via the brutal moral logic of Esteban Trueba’s eventful life. The story swells in urgency, and also relevance.” Rob Weinert-Kendt, The Village Voice

“La Casa De Los Espiritus/The House of the Spirits was one of the many powerful productions I saw in New York this previous year. On eextremely level. The writing by Caridad Svich was exquisite. I never before felt that I was watching an “adaptation”. It was pure theater, a story which felt favor it could only exist on phase. The direction by Jose Zayas was both highly imagiaboriginal and also emotionally “real”. In reality, it was among those rare experiences in the theater wbelow you felt that the collaboration in between director, designers, actors, and also writer was just…perfect for the item. It was my initially suffer at Repertorio Espanol in many years and, if this is an example of the job-related they execute, I want to view more.” Lisa Loomer, Playwright

“Like rain once it’s dry and also ice cream in the summer – you can’t say no to the creating of Caridad Svich; you require it, you deserve it. Her mind is generous and also nimble; she is capable of subtlety at the highest levels of refinement, and also is also inexhaustibly cruel (ice cream is cold and sweet) – she is fearmuch less, and will go to every limit in writing an endure. Her talents and also perseverance make her a dreamy match for Allende; I can’t imagine a finer adaptor. She has taken a item that is respectfully literary, while likewise affirming her very own clear voice; the piece is completely theatrical, and also Svich does much here to crack the classical difficulties of the epic on phase – the epic is for her much more than an buildup of event – it is the danger of the boundless. Here personalities and stories continually threaten to spiritualize, yet eventually reprimary in their blood. One of our lead writers is creating at the optimal of her form. Housage is a success, a gift.” Erik Ehn, playwright

“In the Housage of the Spirits, Svich has actually an almost uncanny capacity to uncover the a lot of resonant balance between the multiple layers of a story and a compact time framework. Her cross-social awareness and also her fearlessness in the confront of complicated interactions, both political and also personal, put her at the forefront of essential, brand-new theatrical functions. Whenever before you come across Svich’s work for the theater, brace yourselves for a truly original and also relocating endure.” Naomi Wallace, playwright