Ghost the Musical on Tour - Wales Millennium Centre - Saturday 20th April 7.30pm

The great thing about touring shows is I can share the shows I love with my family who aren't theatre obsessed like me. After discovering Ghost last year, I've been raving about it ever since. It's an exciting new level of theatre and I was anxious for everyone to see it. I wanted them to see the same show I loved, though, and tours are often radically scaled down versions of it's initial incarnation.

This worry was unfounded, however. The set has been kept almost to the exact specifications of the original. The one thing I really noticed that was missing was the 'travelator' as it became known - the conveyor belt that runs across the downstage area. I missed it, but if you've never seen the London version you wouldn't know any different. The special effects and illusions are still breathtaking and flawless - my mum hasn't stopped talking about the door scene and the effect of the subway. She said "it's the best special effects she's ever seen in a show".

I won't go into my set design interpretation here - see my original review for that, but I do want to reiterate my defence for it to anyone that accuses it of being technology for technology's sake - think about the themes and subplots before making these accusations! 

There are a couple of changes to the score and I don't think anyone will be surprised or disappointed to learn one of these is 'Ball of Wax' which was always glaringly out of place with its awkward change of tone. I still don't feel they've got this moment right with the reworked version of this song still feeling like a poor fit. The other song which has been removed is Carl's song from Act 2 'Life Turns on a Dime'. I actually liked this song, though I know lots of people didn't. In its place, Carl now sings a (somewhat distorted sounding) version of 'Here Right Now' while Molly sings her normal phrase. Maybe it's just because I know how it used to sound, but again it feels awkward. It's good that they've listened to the audience opinions and responded proactively by changing things - this is how theatre develops and grows - but it feels a little rushed. It's as though they've responded with panic to fill these moments by taking musical phrases from elsewhere in the show and remoulding them into something that hasn't properly taken shape.

Honestly, though, that's nitpicking to the nth degree because I can't actually fault it otherwise. As far as touring versions go, this is perfect. To quote my friend, Julie, who watched with me - "I've never seen anything quite like it. It reminds me why I got into the theatre business". I don't think there is higher praise than that; For someone to be inspired by what they've encountered is the greatest compliment.

Stewart Clarke as Sam brings a younger, innocently playful take to the character - a young man just embarking on his adult life. His career and relationship with Molly are strong and his future looks bright. This heightens the injustice of his life cut short.

Rebecca Trehearn was the understudy for Molly during the London run, so was already familiar with the character. Her interpretation was a feistier one but this didn't diminish the vulnerability - if anything it enhances it. Her 'With You' was heartbreaking.

I found it quite hard to fully buy into David Roberts's Carl - although people accused Andrew Langtree's interpretation to be a bit too "panto baddie", I liked it, it worked for me. I felt Roberts was a little lacking in the dripping corporate sleaze that's needed to create the believability that he would risk everything for his personal, materialistic gain.

And then there's Wendy Mae Brown as Oda Mae Brown. What a fabulous role this must be to play and with that name, it seems she was born to play her. She's the light relief in what would otherwise be a dark and heavy show, it's easy to warm to her character. Certainly no saint herself, Oda Mae can con and swindle with the best of the New Yorkers - but underneath it all it hasn't corrupted her soul. I loved Wendy's interpretation, dare I say, more than Sharon D. Clarkes! She’s put more of her own spin on the character rather than being a carbon copy of Whoopi Goldberg's. It was impossible not to laugh out loud.

From the moment the intensity of the overture hits you and you're hurtled across the New York skyline to the lights dimming into a small pool of light downstage on a drained Molly and Oda Mae, you will feel completely blown away! If there's only one touring production you see this year, make it this one. Please.

For tour venues, dates and booking information, please visit the official website http://www.ghostthemusical.com/

Saying Goodbye to Ghost: The Final Performance

I wasn’t really sure what to expect of a closing night of a west end performance as I'd never been to one before. Part of me wondered whether it would be full of over the top sentiments being shared amongst die hard fanatics and usually professional performers weeping uncontrollably.

I’m happy to say this ridiculously farcical scenario that I’d concocted was just that – a concoction. What I got instead was an atmosphere of an audience united in a joy and admiration of a musical that, sadly, hadn’t pulled in the audience numbers it deserved and performers who channelled all that emotional energy into well honed performances, heightened by the occasion.

As the wall of sound that is the overture began, the air was electric and the cheers raucous. I won’t do a review of the show in general as I already reviewed it in June – if you’d like to read the full review please click here. Instead I’ll just pick up on a few things.

The audience appreciation of Sharon D Clarke made her, evidently, the favourite. There were cheers after not just every musical number she performed but every scene! There’s a lot of love for this actress and there’s no doubt about why - Her voice is phenomenal and her comic timing perfect to the beat.

There was a heavy poignancy when the heartbroken Molly sings – ‘When it’s over it’s over, I have to let go’ considering the meaning this has not only to the story but for the show itself.

The ensemble were really given a chance to let go and enjoy performing together one last time during the upbeat song ‘Talking ‘Bout a Miracle’ and they threw all that last night adrenaline into it. Particularly Ashley Knight who plays the tap-dancing hospital ghost; you could really see the genuine smile of pride as he danced with his fellow cast members one last time. It was a smile of pure contentment within that moment.  

As we reached the climax of the show, already emotional for its content, I hear sobs all around. I’m not much of a crier in public - I prefer to hold it in till my throat gets all tight and I get a headache - but when Sam says “It’s amazing, Molly. The love inside, you take it with you”... that really gets me. I think it would for anyone who’s ever lost somebody. I’m listening to it now as I write this and it’s set me off again!

Then the tears rolled again during the final curtain call in reaction to seeing Mark’s eyes shiny with the threat of tears followed closely by Siobhan no longer being able to hold back. I find it so touching that these companies form such close bonds that it’s really like the separating of a family.

  

Photos courtesy of Lee Barfield @barfieldsrcool 

Photo courtesy of Lee Barfield@barfieldsrcool 

To mark the ending of the show the director, Matthew Warchus, came on stage to give a small speech and offer his thanks to the cast and crew. He talked about the process of putting the show together and the demanding nature of the technical aspects, upon which he brought out Rob Howell, the designer and Paul Kieve, the illusionist (they are the guys dressed in jeans & black tops in the photo on the left - I couldn't get over how ordinarily such creative geniuses dress). If you were at the show then I was the one whooping madly for them. Having studied technical theatre I have a real admiration and respect for these two. You’ll find their names credited to many shows, so keep an eye out.

 Warchus words culminated with the following sentiment:-

“I hope this doesn’t sound big headed but I think this really is the west ends loss”

Sad times - Flight cases taking away
bits of the Ghost Set

Photo courtesy of Lee Barfield
 @barfieldsrcool 

And though I don’t mean to judge prematurely ... I can’t help but fervently agree as the Spice Girls jukebox musical, Viva Forever, waits in the wings to take over at the Piccadilly Theatre next month.

If we can take positivity from this, however, it’s that a tour is definitely in store starting next spring bringing this fantastic musical to a wide range of new people all across the country.  I just really hope it doesn’t lose any of its punchy impact during the scaling down.

There's not a lot of information on the internet as of yet regarding the tour but  like their facebook page http://www.facebook.com/GhostOnTour or if you don't have facebook keep an eye on the website http://www.ghostthemusical.com/home/

If you haven’t read it yet, also check out Mark Evans’s last blog as part of Ghost http://markevansonline.blogspot.co.uk/2012/10/blog-115-farewell-sam-wheat.html

Keep Believing

Review: Ghost the Musical, Piccadilly Theatre, Saturday 23rd June 7.30pm

I think I may have found a musical to add to the favourites list just as it’s about to leave London. I have to admit I was sceptical at first. Not so much because of the story or the music – I love the film and the music (written by Eurythmics Dave Stewart & six time grammy award winner Glen Ballard) sounded good. Though, I have to say  it wasn't until I saw the show and experienced the emotion of the music first hand that I really appreciated how brilliant the soundtrack is.

The reason I was initially sceptical was because I knew that there was a lot of automation, video and projection used as set and I was worried about a high tech take-over of theatre would ruin the magical atmosphere created by imagination and make it more like the experience of watching a film.

Even as I sat in my seat (row A in the centre – not too shabby for a last minute theatre ticket at half price eh? God bless tkts London) I still felt unsure about it. As the show began, projections played out over the gauze and the large screens moved around into position with the relevant images being thrown across them I could feel the doubt about this show seeping in.

Then I noticed how it all reminded me of Times Square and from there came the quick realisation that actually it has been designed, very cleverly, in this way to convey that bustling, never sleeping, workaholic New York feel. Thinking about the story – how Carls obsession with money and the materialistic costs Sam his life – I realised you can also glean a message from the design about the sensory overstimulation when living somewhere like New York. The constant bombardment of images and sounds creating a materialism and greed that doesn’t consider cost.  A message that can also be taken from the song ‘More’:-

                “We’re just playing a numbers game.
                And every second those numbers change.

                This is what I live to feel

                It’s the beauty of the deal....”

Incidentally, this may be my favourite riff(?) in the show.

Though the main story is certainly about the love between Molly and Sam that survives beyond his death, once I noticed the sub-theme I couldn’t stop picking up on little things.

Such as the choreography. Lots of people seemed to dislike it as it can be quite mechanical and choppy. But I found it really helped set the atmosphere. The movement is also very carefully and cleverly considered, it seems to me - as the office drones the dancer’s movements are mechanical because their lives are mechanical – their lives are about working to achieve the material things they think they need. For the moments when it needed to set the bustling scene of typical New York it was urban, gritty and sexually charged. I loved the moment on the tube where they’re getting thrown about by the subway ghost and they barely even seem to notice. They just sit back down after wards – like they’ve become so jaded by the city that nothing phases them.

So I think it’s really important to acknowledge the creative team on this show, in particular the set designer Rob Howell (who actually won a whatsonstage award for his design for both Ghost and Matilda and an Olivier for Matilda) the choreographer Ashley Wallen and Liam Steel for the Additional Movement Sequences.

On to the cast – there wasn’t a weak link in the lot and I think that’s quite rare in an age where roles are often stunt cast, regardless of talent. They could all sing, act and dance – even if the accents were a little dodgy at times.

Siobhan Dillon as Molly and Mark Evans as Sam, were both as fantastic as I expected them to be and really made me believe in their characters love. 

My  favourites, though, were Andrew Langtree as Carl Bruner and Sharon D Clarke as Oda Mae Brown.

Andrew Langtree portrays the characters dripping corporate sleaziness through demeanour and the way he talks and moves. You can really sense his need to have everything – by whatever means necessary. And who doesn't love a good baddie? 

Sharon D Clarke had the mannerisms of the character we love so much from the film down to perfection. It was as though she has studied Whoopie Goldburg’s portrayal in depth. Perhaps it would have been nice to have a bit of her own interpretation in there too, though?

If you go to see Ghost the Musical for no other reason, though, go for the illusions (created by Paul Kieve). Wow, I was blown away. I’ve studied technical theatre, which to be honest has spoilt the magic of some stage illusions, but the magic was reclaimed in this show. I really couldn’t figure it out. I can guess at some of the elements that made it work (which I won’t theorise about here, as I wouldn’t want to take anything away from a person going to see it for the first time) but how those elements worked to create the ghostly illusions, I just don’t know. For me, this is wonderful. It’s like being a child again and being completely swept away in the magic.

So, go, be swept away in the magic currently happening at the Piccadilly Theatre, before the shows own untimely end in October later this year.


http://www.ghostthemusical.com/home/