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When Thomas Kilroy adapted Henrik Ibsen’s Ghosts in 1989, he relocated the action of the play to an Irish provincial town in the mid-1980s. He retained Ibsen’s focus on loveless marriage but changed the son’s affliction, syphilis – Ibsen’s metaphor for “the devitalizing effect of inherited convention”, the real “ghosts” of the past – to HIV-AIDS. These various changes allowed Kilroy to include echoes of the 1986 Irish divorce referendum and the developing international AIDS crisis in his play. One ghost stalking Kilroy’s adaptation is Article 41 of the Irish Constitution which relates to “The Family” and particularly affects the position of women. Kilroy’s Ghosts not only confronts the spectre of that document but anticipates significant changes that would be made to it in subsequent decades: the legalization of divorce after a second referendum in 1995, and the legalization of same-sex marriage as a result of the 2015 marriage equality referendum.

Groping towards Morality: Feminism, AIDS, and the Spectre of Article 41 in Thomas Kilroy’s Ghosts