Boston - Let’s hope that Henry Jewett, who’s been dead for 78 years, enjoys the new ghost story play at the Huntington’s B.U. Theatre. Based on his history, he’ll probably let us know if he doesn’t.

The play, Conor McPherson’s “Shining City,” seems like just the kind of play that could stir his spirit. It’s about a guy who goes to a psychiatrist because he’s battling insomnia. He’s also seeing his wife, which is a problem because she recently died in a car accident.

The New York Times hailed the play as “absolutely glorious.” The Huntington stages it through April 6.

“It’s a psychological drama, but not without humor,” explains Director Robert Falls. “It’s not a ghost story, in the traditional sense, but people will jump at certain moments. At least, we hope they do. The play is really about loneliness and despair, and how the modern life alienates people.”

Despair. Jewett may have known something about that. He founded the Jewett Repertory Theatre in 1925 where the Huntington’s B.U. Theatre now stands. It housed the Henry Jewett Players, the nation’s first resident professional theater company. But the theater failed in 1930 and later that same year, Jewett was dead. The Boston Globe obituary reported that he died at home, but many theorized that Jewett committed suicide by hanging himself on stage.

“That is a good story,” says Falls after being told the theater’s history. “I haven’t seen him or experienced anything weird yet. But it’s odd. I have to admit that backstage, there has been a chill that everyone has sort of noticed.”

But there’s a lot more evidence than just a cold breeze on stage.

Donna Glick, who has been the director of education at the Huntington for 18 years, said the ambiguous nature of the original obituary fueled speculation about Jewett’s death.

“I’m the haunted historian here,” laughs Glick. “Mainly because I’ve been here so long and that I remember a particular summer when there were a lot of ghost sightings and sounds.”

In the past, the Huntington didn’t do shows during the summer, but in 1991 Trinity Rep’s production of Terrence McNally’s “Frankie and Johnny in the Claire de Lune” was brought into the family-friendly theater.

Perhaps Jewett didn’t approve of the play’s adult themes and nudity. On opening night, the production was delayed because the house manager couldn’t dim the lights. Eventually, they dimmed on their own. There were also reports of people experiencing a cold chill in the lower lobby, which is now called “the willies spot” by staff members.

“But the one that gets me is the portrait,” replies Glick. “There’s a huge portrait of Henry Jewett (he’s appropriately dressed as Macbeth) in the mezzanine level and there are two smaller pictures of past productions on either side. Someone noticed that the Plexiglas of the two smaller pictures had come off and were moved toward the Jewett portrait, both at an equal distance.”

The pictures are high up on the wall. No one could reach them without a ladder.

“I don’t really believe in ghosts,” says Glick, “but after that I was open to it.”

Another incident occurred when Glick was giving a tour. A psychic in the tour group had a reaction.

“She said she could see or feel an angry woman on stage,” says Glick. “She said she saw her crossing the stage, back and forth.”

Historical note: Actress Peg Entwistle, famous for committing suicide off the Hollywood sign (the L.A. “Times” dubbed her “The Hollywood Sign Girl”), was a part of the Henry Jewett Players and no doubt spent time on the stage.     

There have also been sightings. Roger Meeker, assistant professor of theater arts at Boston University, claims to have seen someone on the catwalk.

“He was sure he saw someone,” says Glick. “He yelled up to the catwalk and the figure disappeared.”

And recently, a film crew experienced something odd in the theater, though they may have been asking for it. Steve Maihack is the co-producer of “Project Ghostlight,” a show he is pitching to networks.

It’s been said that the ghost light in the theater (made from a dim light bulb that shines on stage) is left on after a production so that the ghosts of the theater can find their way. In Maihack’s show, they turn off the ghost light and give three actors infrared cameras to explore the alleged haunted theater.

“Half of the show will be a documentary, the other half a reality series,” says Maihack. “We’re about capturing the experience and asking people to take a journey with us.”

Prior to the actual shooting, the crew got a taste of Jewett. Maihack said in the main house, they had “tons of electrical malfunctions” and that the lights occasionally flickered. Also, during a tour of the theater, the 13-member crew ended up being stranded on a fire escape. They had secured the door with a rope. As they walked around the escape, the rope was unhitched.

And then there’s Studio 210, located above the main stage and rumored to be a space with a higher level of activity.

“The crew definitely felt something there,” says Maihack. “And in the show, one of the actors knew about it from being a student at B.U. She definitely got shook up.”

As for the “haunting,” Maihack says he sees the activity as playful rather than vengeful.

“Opening the theater was a big venture for this guy,” explains Maihack. “And for it to fail in front of his eyes must have been tough. I think the Huntington’s success brings up his energy. Pranks are something traveling actors always do to each other. I think he’s enjoying it.”