We are all familiar with the 1990 film Ghost, with its iconic casting of Patrick Swayze and Demi Moore, the famous potter’s wheel scene and the soaring soundtrack of Unchained Melody – now this latest and slightly reworked touring production has manifested itself at the Sheffield Lyceum. This Bill Kenwright Ltd production with a masterful Book and Lyrics by Bruce Joel Rubin and Music and Lyrics by Eurythmics Dave Stewart and Glen Ballard had is first stage opening in 2011 and all will forever by judged by that stunningly visual production. Unfortunately, I found myself having to ‘suspend my disbelief’ as this production as it left me sporadically underwhelmed and at times – disappointed. The title alone leads us to expect supernatural / unexplainable occurrences and the special effects are sorely lacking in this production. A few are still there – the walking through the door and the wonderful ascension, which is done very well in this production but gone is the letter unfolding itself, gone is Carl suspended from the floor, the penny that moves, the flying garbage in the train station, even the words on the computer screen are missing. Can we blame rising cost for all of these omissions? Food for thought.
The story tells the story of Molly Jenson and Sam Wheat, young lovers who are ready to take their next step in that relationship. But Sam’s untimely death early in the show leaves Molly understandably inconsolable, trapped between the earthly world and his final destination, Sam discovers his death was no accident. With the help of fraudster and now legitimate psychic Oda Mae Brown and an array of ghosts from the spirit world, Sam discovers Molly is in danger too and his earthly friendships are not what they appeared. He must save Molly and prove he was murdered before he can reach his resting place.
Directed by Bob Tomson with Musical Direction by Jordan Alexander the ballads within this production are its highlights but I do feel the production was under directed at times, too many missing details from an ensemble that appeared to have little direction as to filling the stage or creating ambience. The highly stylised choreography by Alistair David is a great juxtaposition to the naturalism of the acting, yet in the opening sequence, naturalism blurs with the very stagnant, blatantly choreographed romantic movement of the two principal characters making it difficult to believe the chemistry between the two isn’t forced.
The set and scenery design by Mark Bailey do little to add to the bustle of New York or the intimacy of Sam and Molly’s relationship. With moving flats and visible stagehands and cast interrupting poignant moments in the action, the set becomes clumsy and a hindrance. Bring back the Video wall at least! – Which is none more needed than in the ensemble number of More, choreographed by Alistair David. The small cast of 15 struggled to fill the stage and the spectacle of bustle, anticipation and ‘high finance’ is lost. The deaths of Willie and Carl become almost comedic in their execution with the lack of video of darker forces taking them to the audience’s perceived hell. The now shortened version of the Subway Ghosts song ‘Focus’ is however, saved by an exceptional performance and the effective train, but the special effects once created are disappointedly nearly non-existent now. However, there is some clever use of lighting designed by Nick Richings.
The shortcomings are of no fault of the cast’s making and this cast is; on the whole; one strongest for many years. Rebekah Lowings gives a powerhouse performance as Molly and her vocals are sublime, however, I do feel a little overpowering and lacking desperation at times. Josh St Clair as Sam Wheat gives an emotive performance, particularly during his interpretation of song when his frustration and desperation are evident. Chemistry between the two principals is sporadic but the final ascension scene is beautifully tender. James Mateo-Salt gives a new dimension to the underdeveloped role of Carl Bruner, his vocal is strong however he doesn’t fully depict the two extremes of the rapid decline of the character. Jacqui Dubois returns to the role of Oda Mae Brown, with her masterclass on comic timing – the Bank scene with Sam is perfectly executed as is the scene in Oda Mae’s parlour, aided by stellar performances by Molly Cleere as Mrs Santiago, Tanisha Butterfield as Clara and Keiahna Jackson Jones as Louise. Dubois’ show stopper – I’m Outta Here – again, is yet another example of cost cutbacks? – whilst executed perfectly, costume and props are minimal and the spectacle of Oda Mae’s dream becomes underwhelming, not a cocktail or gem encrusted microphone in sight … such a shame.
The supporting cast are well defined and fully exploit their roles. Jules Brown is wonderful in the menacing role of Willie Lopez, as he broods his way from arrogance to terror, looking every bit the villain. Additionally, Garry Lee gives an electric performance as the Subway Ghost and his depiction is a particular highlight for me, (even with the missing special effects of the earlier tours). Tim Maxwell-Clarke give a very strong rendition of ‘You Gotta Let Go Now’ as the Hospital Ghost and his bumbling Lionel Ferguson role is equally impressive.
If you are a first timer and cannot compare it to the original production Ghost the Musical is well worth seeing. It has soaring ballads, tear jerking moments and some stellar performances. It is nostalgic and heart wrenching, and the cast are strong, with exceptional vocals. The tour is at the Sheffield Lyceum until Saturday 15th March.
Reviewer: Tracey Bell
Reviewed: 11th March 2025
North West End UK Rating:
Rating: 3 out of 5.
