It’s safe to say that every artist approaches their work with a goal, be it to educate, entertain, engage or change. That is by no means an all-encompassing list, but the point remains: art is created with purpose. Playwrights are no exception. When audiences emerge from the theater, they should have a strong notion as to the overall theme and message the playwright and playhouse attempted to impress upon them via their production.
Cleveland Public Theatre’s production of “Haunted” has made the main purpose of their production very clear, and that is to promote and educate about the Land Back Movement.
Ash and Aaron’s spirits have been trapped in a stranger’s home since they died. For twenty years, the Indigenous siblings have passed the time dancing to Y2K pop hits, arguing about the cause of their death and haunting anyone who tries to move into the house. When an ominous light appears, Ash and Aaron are prompted to more deeply consider why they have not been able to pass into the Spirit World. As they work to uncover the reason that their spirits are trapped, they must enlist the help of the living beings whom they have been haunting.
“Haunted” is currently receiving its Rolling World Premiere as part of the National New Play Network (NNPN), which supports three or more theatres that choose to mount the same new play within a 12-month period. Cleveland Public Theatre’s production under the direction of Nailah Unole didanas’ea Harper-Malveaux is the third stop for “Haunted” and playwright Tara Moses.
The first Act of “Haunted,” which runs for approximately an hour and a half, is a solid, well-conceived piece of theater that confronts stereotypes. Although it bills itself as a horror comedy, the scariest part of this show is the blatant racism perpetuated by some of the characters. It does utilize and poke fun at horror tropes, specifically that of the haunted house built on “ancient Indian burial grounds.”
From the onset of the play, when Ash, played by Trevor McChristian, enters the stage singing and dancing vigorously to Britney Spears, the show quickly establishes its comedic air. Ash is full of life despite being dead. Dressed in a sparkly pink vest and bedazzled jeans by costume designer Desiree Monique, Ash is unapologetic in their love of punchy pop music and celebrity gossip, and McChristian’s portrayal is full of energy and charisma that will win any audience member’s affections.
With his cargo pants, dark tank top and Creed CDs, elder brother Aaron is the “emo” to Ash’s “prep.” His smiles might be rare and his general demeanor sullen, but the care he feels for his brother is evident. Aaron is portrayed by Lionel Morales, who does a fine job of maintaining his character’s stoicism, even during Ash’s more ridiculous antics, making Aaron’s jovial moments more rewarding.
Audiences sit on three sides of Laura Carlson-Tarantowski’s design of a living room. The back of the stage features a window, fireplace, stairs and bookcase, but the rest of the space is left empty, allowing for the constant rearrangement of furniture as new families move into–and are scared out of–the house.
These new dwellers are depicted by Jonathon Morgan and Rachel Gold, who play a father and daughter duo, respectively. Gold’s daughter character is joined for sleepovers and study sessions by a friend portrayed by Hillary Wheelock. Rounding out the cast is the affable Rob Grant in the role of Vincent, the weary realtor saddled with the seemingly impossible task of selling the haunted home.
Frequent costume changes and the donning of wigs allow for the ensemble to embody many characters, from movers to ghost hunters. One thing that remains consistent is the ensemble members’ ability to act truly frightened when Ash and Aaron begin their antics. Emma Deane’s lighting and Geoff Short’s sound design help to depict the poltergeist activity, the most notable of which occurs during Act I when Ash performs a full haunting routine to Spears’ “Toxic”–terrifying the tenants while delighting the audience.
Upon intermission, “Haunted” has established lovable characters and placed them in a situation that allows for comedy, but contains enough stakes to maintain drama and a sense of consequence. Act II, however, adopts a different air.
In Act II, Ash and Aaron have learned about the Land Back Movement, an Indigenous-led initiative that advocates for the return of lands to Indigenous stewardship. It is here that audiences will feel a palpable shift in the storytelling. As characters research the Land Back Movement, their dialogue begins to sound canned, as if they are using a pre-written template to sell audiences the benefits of, and negate the objections one might have, to the initiative. The decision to occasionally have the characters address the audience directly during moments of particularly impassioned arguments for the movement contrasts with the narrative style established during the first half of the show.
Additionally, it is during post-intermission that some elements begin to feel repetitive: the passionate music-fueled hauntings start to lose their luster and the revolving door of new homeowners–always a father and daughter–begin to blend together. Here, the spirits’ methods of communication and interactions with the ominous light also begin to arouse questions.
It’s clear from quoted interviews as well as context clues that the goal of “Haunted” is for people to learn about the Land Back Movement. Fictional narratives are a clever, impactful way to educate audiences, and in this, “Haunted” succeeds; audiences will certainly leave the theater more educated on an intriguing, valuable initiative. Yet, one must wonder how much more the show’s messaging might resonate were the education and advocacy in Act II delivered with the same narrative charm and wit established during the first half of the show.
“Haunted” runs through March 22, 2026, at Cleveland Public Theatre, 6415 Detroit Avenue, Cleveland. Visit cptonline.org or call 216-631-2727 ext. 501 for tickets, “Choose What You Pay” pricing.
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