Abstract
IN HIS MEMOIR Run-Through, John Houseman records with some reluctance his direction of a 1934 Broadway production of Ibsen's The Lady from the Sea. Houseman's embarrassment over the production is indicative of a general attitude toward the play reflected in theatrical and critical circles. Because of the magnitude and technical difficulties of the leading role, among other reasons, The Lady from the Sea has not been as popular a vehicle in the theatre as A Doll's House, Ghosts, and Hedda Gabler. Nor has it inspired scholarly interest, except for perfunctory chapters in studies dealing largely with Ibsen's dramas of prose realism. The exceptions to this prevailing attitude are to be found in Francis Fergusson's seminal essay on The Lady from the Sea and in more recent studies of the last Ibsen plays.
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