In Spectral Ecologies: Performing Queer Hauntings at the Edge of Climate Crisis, I consider how in grappling with the spectre of environmental destruction, theatre has a strange tendency to conjure ghosts. I observe how plays with ecological preoccupations haunt us through representation of undead spirits and inhuman creatures: herein we find bureaucratic angels spilling fluorocarbons into a tattered ozone while calling for the end of human progress (Tony Kushner’s Angel’s in America), undead automatons delighting in their capacity to survive long past the natural death of their creator (Nathalie Claude’s The Salon Automaton), and ghostly prophecies echoing over radio-waves remembering an atomic end already come to pass (Marie Clements’ Burning Vision). These creatures haunt their human companions, onstage and off, not only via their supernatural abilities, strangely repetitious behaviors, and promises of the end times, but in the queer ways they play with the medium of the theatre. These ghosts take advantage of the strange paradoxes that drive performance – excess and absence, ritual and glitching, anticipation and interruption – to prompt new ways of paying and playing attention. They use performance to literally haunt us. Not only do these hauntings occur, but they are strangely queer, and in their queering oddly ecological. I understand these hauntings as ecological when they prompt us to relate differently to more-than-human-nature, and queer when they emerge from deviant acts that spark desire for difference. I call the ghosts that arise from such hauntings “the un/natural in/human”: theatrical presences who queerly disrupt anthropocentric epistemologies with their affective force, conjured by performative acts that generate feelings of “the ecological uncanny.” I propose that theatre is uniquely positioned to conjure such sensations, and document how the ghosts’ performance conjures a queerly “spectral ecology.” To map these ecologies, I break theatrical performance down into four constituent elements: theatricality, performativity, dramaturgy, and production. I argue that each of these elements contributes to the phenomenon of theatrical hauntings, and each must be queered in the process of conjuring ecological uncanny shudders. In close readings of performance texts, I reveal how moments of the uncanny coincide with the breakdown of human-nature dualist logics, while conjuring queerer ecologies. As a work of research-creation, my project extends this analysis through the dramaturgy, design, rehearsal, and production of an adaptive immersive-environmental performance.