Do Ghost Lights Comfort Or Scare Ghosts?

by:

Joe Patti

I have been holding an article in reserve for quite awhile as I waited for the Halloween season to roll around. 10 years ago this week Atlas Obscura had an article about why theaters place ghost lights on stage between performances.

I had always heard the superstitious reasoning that it either placated or suppressed the ghosts in the building to keep them from creating mischief in the dark theater. As a practical reason I had heard it marked the edge of the stage so people wouldn’t fall off into the pit or on to the floor.

This latter one always seemed the best explanation given that light switches are often not placed in convenient locations in theaters to prevent people from accidentally turning them on during a performance. Thus one is often obliged to wander around a little bit in the dark to get to the switches.

The article also mentions related reasons like a burglar snuck in to rob a theater, fell off the stage, broke his leg and won a big lawsuit. I have also heard the same story about private homes. Kinda makes burglary sound like a win-win proposition. You make money if you get away with the goods or if you fall through the skylight and get caught.

There is also a claim that the Actors Equity union list a requirement for the light to be placed on stage in their contracts. Though there is no indication such a rule has ever existed.

One explanation I found intriguing with a fair degree of possible credibility is that when theaters used gas to provide stage lighting, there was always a low glow of the footlights along the edge of the stage which were never fully extinguished so that pressure didn’t build up in the gas lines.

I was wondering if anyone had heard any additional interesting folklore about the ghost light.

Photo of author
Author
Joe Patti

I have been writing Butts in the Seats (BitS) on topics of arts and cultural administration since 2004 (yikes!). Given the ever evolving concerns facing the sector, I have yet to exhaust the available subject matter. In addition to BitS, I am a founding contributor to the ArtsHacker (artshacker.com) website where I focus on topics related to boards, law, governance, policy and practice.

I am also an evangelist for the effort to Build Public Will For Arts and Culture being helmed by Arts Midwest and the Metropolitan Group (details).

My most recent role is as Theater Manager at the Rialto in Loveland, CO.

Among the things I am most proud are having produced an opera in the Hawaiian language and a dance drama about Hawaii's snow goddess Poli'ahu while working as a Theater Manager in Hawaii. Though there are many more highlights than there is space here to list.

Leave a Comment