Often, a lonely light bulb illuminates the edge of a stage outside of working hours. Part safety mechanism against falling in the dark and part theatrical tradition, the “ghost light” keeps the living alive and brightens up the place for any spirits still hoping to practice an old monologue. Stages juxtapose worlds, or fragments of worlds. The ghost light, then, would illuminate juxtaposed worlds, of the living and of the possibly otherwise. In some ways, this Special Issue of Religions takes theatrical juxtaposition as its premise. We invited papers working at intersections between studies of religious history, thought, and practice and studies of theatrical drama.