Review: Go see Willamette Theatre’s ‘Room of Forgotten Souls’

In the midst of a breakdown, Jane (left, Grae Siebenaler-Ransom ’26) falls at the feet of John (right, Basil Doucette ’28) from dress rehearsals on April 15 2026. Photo courtesy of K.J. Photography.

Willamette University Theatre has taken on a lot of interesting themes and styles, from the surreal dystopia of “Far Away” to the innovative set of “Bloom Bloom Pow,” but “Room of Forgotten Souls” is by far the biggest swing the department has taken in a while.

The show, directed by Jonathon Cole, does not have a traditional sit down format — instead, it is an interactive walk-through event. Both actors and audience members move freely between rooms, interacting with their physical settings and one another. The lines between audience and actor are blurred, and by extension, so are the distinctions between their reality and yours. 

When audience members first arrive, they are directed to pick up a map of the set and name tag, which indicates whether or not they’d like to be interacted with. Guests who abstain from the interactive component are left alone to observe the performance, while guests who prefer participation are engaged in conversation throughout the show. On Wednesday night, some guests were taken into the rafters to observe the performances from above. Others were interrogated by the sharp-tongued doctor, played by Ivy Gessinger (’28). Due to the interactivity component, no two performances are exactly alike, and anyone who is interested has an opportunity to shape the story. 

The title and premise for the show were inspired by the Room of Forgotten Souls, a room in the basement of Oregon State Hospital. The facility, formerly called Oregon Hospital for the Insane, specialized in a variety of outdated and cruel mental health treatments, including lobotomies. Many of those who died while in residence at Oregon State Hospital were cremated, put into small copper canisters and then forgotten, overlooked both in life and in death. 

The show combines this tragic local history with Charlotte Perkins Gilman’s short story, “The Yellow Wallpaper,” in order to explore interconnected themes of misogyny, mental illness and control. 

These already heart-wrenching themes are only made more visceral by the structure of the performance. Audience members are surrounded by emotion, awash in the same deep blue or same suffocating gold light as the cast. In some moments, screams or brief snippets of pop music can be heard from across the set. In others, the space is quiet enough to hear muffled sobs or the scraping of fingernails against the yellow wallpaper. 

The cast’s excellent performances also add to the immersion. The cast rotates every night. Jane, the woman being held in captivity by her husband, is played by Grae Siebenaler-Ransom (’26) and Ember Isabelo (’28). Her husband, John, is played by Basil Doucette (’28) and Wavey Glasson (’28). One of Jane’s attendants, Jennie, is played by Ava Hultquist (’28) and Tabi Momeyer (’27). Rayla Shepherd (’28) and Zin Huie Arneson (’29) play the woman behind the wall. 

These actors switch their roles every night, playing other employees or side characters when they are not in their primary role. The two casts helps add to the unique nature of every individual show because each cast has their own energy and their own interpretation of the characters. Double casting also helps the performers deal with the emotional intensity that results from both the structure and subject matter of the show. At various points throughout the show, characters faint, shout and cry, so having the support of other actors who have been in the same role can help create the best circumstances for those moments.  

Admittedly, not all of the actors are double cast. Ivy Geissinger (’28), who plays the doctor, Loki Saldivar (’28), who plays Clotho the Spinner, and Sam Barrett (’26), who plays Lachesis the Apportioner, remain in their roles every night. 

The effort and craftsmanship put into this show are evident from the moment you walk into the space. The set, designed by Leeloo Rohe (’26), is brilliant. It somehow manages to fit four rooms, each with distinct lighting and sound cues, into a tiny space. The set allows for audience members to push against the walls, becoming the woman in the wallpaper that Jane reacts to. At other moments, Jane and the woman behind the wall swap places, seamlessly disappearing and reemerging from rooms, beneath their bedspreads. 

None of these descriptions do the experience justice. One of the main joys of the show was stewing in confusion and anticipation, before the clarity and emotional release the ending provides. Nothing will compare to the feeling of being in the room, talking with the cast and feeling their passion for their craft and their story. The reason for their love for this project is evident: the play is not only an innovative format, it focuses on an important topic. It shines a lot on an issue and a community that has largely been disregarded by centering their stories and immersing the audience in the emotional reality of confinement. 

For those who have yet to see the show, it’ll be running tonight and tomorrow evening at 7:30 p.m., with a 2 p.m. matinee on Saturday as well. Go see for yourself!