In the theatre, it is tradition to leave a light lit on stage even when the house is empty. The origins of this ghost light could have been practical – it is safer for those first in and last out to see while securing vital stage equipment, and in the early days of theatre, the light could have relieved pressure on gas systems. However, a variety of superstitions surround the ghost light: perhaps it is there to ward away spirits, illuminate the stage for their performances, or keep them company.

Taking its title from this strange, poignant practice, GHOSTLIGHT is the story of a construction worker who finds himself unexpectedly in the middle of an amateur theatre production of Romeo and Juliet. Dan (Keith Kupferer) had no interest in Shakespeare, but it is a good outlet for his issues at work and home. Neither he nor his daughter Daisy (Katherine Mallen Kupferer) – a promising high school actress – can keep a handle on their emotions, lashing out at each other and anyone caught in their way. In the aftermath of his son Brian’s suicide, the family is preparing a wrongful death lawsuit against Brian’s former girlfriend. But Rita (Dolly De Leon) sees something promising in Dan, inviting him to audition for Lord Capulet, though events conspire to change the cast a few times before curtain. Through this process, Shakespeare’s tale of star-cross’d lovers slowly becomes a lifeline for Dan, Daisy, and perhaps the entire community.

Directed by Kelly O’Sullivan and Alex Thompson and written by O’Sullivan, GHOSTLIGHT’s casting of a real father-daughter pairing as Dan and Daisy lends an effective verisimilitude to the proceedings. Their relationship is difficult and volatile, with both characters acting unwisely and unkindly at points, and O’Sullivan’s script does not rush them into apologising or explaining their feelings. In this way, GHOSTLIGHT avoids the saccharine traps of Ted Lasso, Shrinking, or other recent stories focused on bereavement and “talking through” mental health struggles. The result is genuinely transformative rather than cloying.

While performances across the board match this tonal and thematic richness, it is great to see De Leon back in the spotlight after her standout turn in Triangle of Sadness. It is no stretch for her to play the most experienced and talented actress in a local troupe, but she makes Rita’s devotion to the craft work in tandem with her belief in art as a force for social good.

Using Romeo and Juliet as the Shakespearian framing device is handy as one of the famous playwright’s most universally known plays; little time is devoted to explaining the plot beyond what actors would discuss in a rehearsal room. In the theatrical world, age-blind casting in Shakespeare has become more common, and watching Dan relate to and later become a character his son’s age demonstrates the power of this imaginative approach.

A tender and moving exploration of grief and art’s power to heal, GHOSTLIGHT’s performances, script, and tone are judged with expert subtlety and emotional authenticity. It is a masterful indie drama that makes one believe anew in the ability to live past tragedy.