Ghost ☔️

#PRInvite #Gifted | 'Ghost' the Musical is taking Aberdeen audiences into the ethereal this week, reviving the heart-breaking story of Sam and Molly from the original classic film, asking them to Believe all over again.

Star rating: ★★★★

‘Ghost’ the Musical is Here Right Now at His Majesty’s Theatre, Aberdeen, this week as the 1990 hit film is revived for the stage in this new UK Tour. The film, of the same name, is a fantasy thriller and was the inspiration for a stage adaptation in 2011. The show has celebrated many productions worldwide, most notably a Broadway and West End run with subsequent tours on both sides of the Atlantic. ‘Ghost’ has frequently toured the UK since 2013, but this is only the second time the show has made its way to Aberdeen after spellbinding audiences over ten years ago. The show has made such a lasting impression on audiences, so much so, I distinctly remember quite literally every theatregoer experiencing the magic and special effects included in the first tour - and still to this day, they tell me that this show is one of the best they have ever seen. 

‘Ghost’ is a tragic story, revolving around Sam and Molly - the two lovers who gave us the iconic pottery wheel image from the 90s film. As their relationship ebbs and flows, the pair are caught by an unprovoked attack on their way home to their apartment. In a brutal murder, Sam is killed, and Molly becomes a target for a money laundering scheme that appears much closer to home than she’d dare to believe. Knowing that Molly is in danger, Sam’s ghost gets stuck between two temporalities: where he either has the opportunity to set his soul free; or spend more time on Earth trying to save his one true love. Amongst the heavy plot of love, grief and loss, there is a charismatic charm to some of the characters whose purpose within the material is to raise spirits - balancing the show’s narrative with moments of pain and discomfort, alongside some witty moments of comedy.

Though this was the first time I have seen a production of ‘Ghost’ on stage, I am briefly aware of the show’s history. On tour just now is not the original West End or UK touring production, instead it is presented by the late Bill Kenwright. Understandably, post-pandemic budget cuts and ginormous inflation costs for producing theatre around the world right now have caused this production of ‘Ghost’ to be pared back, steering away from the original version with LED screens. The staging of Bill Kenwright’s ‘Ghost’ is archetypal to a classic Kenwright production - which can sometimes be a hit or a miss. Whilst there are some elements of the show which soar, there are equally a number of problems within the assembly of this show which desperately need addressed.

Alistair David choreographs the ensemble numbers and this was, in my opinion, completely incompatible with the material. I felt there was a dissonance between musicality and physicality and if I’m honest, I dreaded the parts where I could see the ensemble creeping on from the wings. The choreography was performed meagerly by the ensemble, who are usually the ones I enjoy watching the most. Without the buy-in from the cast, it is extremely difficult to expect any form of buy-in from the audience - and this was incredibly unfortunate. Furthermore, the background acting from the ensemble did not compensate for the lack of integrity driving the choreography as at times, I found it difficult to believe I was watching a professional touring company. Clumsy, unpolished and disconnected: these are the typical traits of lower-end Bill Kenwright productions which have caused me to avoid buying a ticket in the past.

However, not lost within the production is the show’s heart, which is a love letter to the original film, and it does not mind breaking the hearts of the full house in to see this classic love story. Bruce Joel Rubin pens the book and lyrics, joined by Dave Stewart and Glen Ballard who treat us with the music and lyrics. The musical’s score is the selling point, featuring some fantastic hits such as ‘Here Right Now’, ‘I Had a Life’ and ‘Rain’. More familiar to theatregoers this week are ‘Unchained Melody’ and ‘Nothing Stops Another Day’ which are centred in the show’s most poignant moments. The touring band is made up of seven instrumentalists, and the underscoring of the show is testament to how well crafted the material is for a screen to stage adaptation. Though the music was well balanced, I was left wanting more from the sound design from Dan Samson, perhaps playing around with voice effects for the ghosts, and accentuating these contrasts much further.

Bob Tomson directs the piece and this was exemplary. Though, due to the downsize in production value, some of the intimate or highly emotional moments can be lost against a blank and minimalist stage design. Mark Bailey designed the set and this is complemented by the lighting design by Nick Richings. The set, though serving its purpose, does not push any boundaries, and this is another classic trait of your usual Bill Kenwright tour. It is the film on stage, nothing more and nothing less, and though this will please audience members, it creates a lack of depth for the production as a whole.

I was also left wanting more from the cast in terms of their chemistry and portrayal of each relationship, guided by the intimacy coordinator Rebecca Reany. Though the book causes the characters to naturally lean towards this desire later in the run, it does start off quite stiff. Enhancing Tomsons’ direction, the illusions elevate the production, and this is compliments to Richard Pinner. Particularly noteworthy was the staging with the New York subway - though this didn’t always make sense - it was a visually appealing scenic design and cleverly executed. Though this tour misses the original screens, it is always good to see a physical set - even if the stage is left pretty bare.

Rebekah Lowings stuns as Molly Jenson, ringing every eye in the house dry during her rendition of ‘With You’. It is hard to deny that this song is one of the best songs created for musical theatre, and it was performed beautifully. Josh St. Clair is endearing as Sam, equally providing some fantastic vocal moments in ‘I Had a Life’. Though the pair had a clear connection at the end, I would have appreciated more of a genuine spark to begin with to really captivate the audience in their love story. What is unique to their story, though, is the clear cracks in their relationship before Sam’s untimely death, and again, I would have welcomed more emphasis and contrast here, alongside less stylised and choreographed movement in order to make their relationship furthermore authentic and believable.

Jacqui Dubois far outshines the rest in her portrayal of Oda Mae Brown, the Psychic Reading Mystical Astrologist. I absolutely adored her character development throughout the show, from con artist to playing an integral role in saving Molly. Dubois had vocal quality and comedic timing in shed loads, and is a much needed asset to this production. Taking her spotlight away in some cases are her two psychic sidekicks and a customer who are poorly dressed and become distracting with extremely messy choreography. Les Dennis also makes two cameos in the show as the Hospital Ghost and Lionel Ferguson - revisiting the role of the Hospital Ghost to how it was originally written despite numerous changes from previous productions.

James Mateo-Salt and Jules Brown are gripping antagonists who deliver on raising the actions through plot twists, violence and further illusions. Their characters serve as a reminder of good and evil; and how this is not just a story of love and loss, but one of betrayal. Where I was let down by the ensemble work, I was so glad to see a strong line up of principals who carry the show completely.

Though budget cuts and subsidies are understandable, particularly in this climate of theatre making, I think we need to stop accepting recycled shows that reduce the value of what could be. It is important to look objectively at productions like these; and the purpose of such revivals. Though I am glad to have finally seen ‘Ghost’, there is no doubt that many who attend this week will have seen it done better elsewhere - and I don’t know if that’s a sword I would want to fall on if I was a theatre producer.

Credits

Instagram links: @theatregramuk, @aberdeenperformingarts, @ghostmusicaluk

Review by Joel Simpson cc: theatregram@gmail.com

Production photos supplied by Aberdeen Performing Arts