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Rebekah Lowings as Molly and Josh St. Clair as Sam. Pictures: Alastair Muir Ghost: The Musical The Alexandra Theatre, Birmingham **** Even a philistine like me knows the iconic image of a young lovers sat at a pottery wheel whilst Unchained Melody engulfs one’s ears when they hear the title Ghost, add The Musical to that and already I began to feel sceptic. It turns out, I needn’t have feared. Ghost: The Musical brings to the stage the iconic 1990 supernatural romantic thriller, and seems to retell the story rather faithfully. Two lovers, Sam and Molly, full of life, hope, and promise move into a trendy Manhattan loft but we know their happiness cannot last for long . . . well it can’t we’ve got another two hours to go yet! The story really begins when Sam is tragically killed and finds himself stuck between here and the next place. As he begins to work out what is keeping him in purgatory, he realises that Molly is in danger. But how can he tell her when she can’t hear or see him? The songs complement the story well, with some catchy toe-tappers, alongside some powerful ballads that keep the long runtime fresh and captivating. Rebekah Lowings bounds onto stage as Molly with a playful hopefulness, and immediately we all see what Sam sees. Her bright energy is juxtaposed beautifully with her harrowing heartbreak later, with vocals that give chills to even the most stubborn of non-believers.
Jacqui Dubois as Oda Maye and Josh St. Clair as Sam Josh St Clair introduces us to Sam and gives a charming goofiness that endears the audience toward him. As predictable as his journey as a lost soul may be, St. Clair ensures that we feel every twist and turn with Sam, and it very much becomes his story. The two leads have an electric chemistry, and there is never a doubt that Molly and Sam were meant to be. At times it feels like maybe we shouldn’t be watching, but perhaps that’s just the British politeness. James Mateo-Salt gives us a sleazy, selfish, and cut-throat Carl who is introduced as a friend of Sam and Molly. Something about Mateo-Salt stops us from completely warming to him, but I’m sure there’s a reason for that. Meanwhile, the street thug Lopez, and perpetrator of the inciting incident, is given a menacing, sinister aura by the unsettling Jules Brown. Not forgetting, the subway ghost, brought to life with a macabre, unhinged, performance from Garry Lee, who would not be out of place in a Tim Burton film. It is Jacqui Dubois, though, who steals the show with her comedic brilliance as the larger than life (mediocre) medium, Oda Maye. She commands the stage and provides plenty of laughs as she bites off more than she can chew. The spiritualistic psychic who has been conning her clients for years, suddenly discovers she has the gift... or is it a curse? The cast is supported by a number who double up as various roles, and who contribute to some robotic dance routines that capture the monotonous autonomy of city life in their costumes of greys and beiges. This gives way the leads and ensures that they stand out as their stories are told. Mark Bailey’s versatile set constantly takes us to new places as pieces glide in and out with elegance and ease. The forced perspective of the set takes us to a colossal and sprawling New York, but then into the dingy pokey quarters of Oda Mae’s psychic consultancy. Without saying too much, the subway station is a perfect example of what a set can do when brilliant creative minds come together. Nick Riching’s lighting design supports the play unassumingly, and for a story where we’re dealing with the supernatural never feels like a gimmick. His ethereal effects are set up subtly and simply so that we always know who’s alive and who’s not. Occasionally the actors lost their way from the light, but the soloists shone regardless. Similarly Dan Samson’s sound design created the hustle and bustle that New York needs. The obligatory whooshes of ghosts passing through objects were just right and never resigned themselves to being too cheesy. Unfortunately, some mixing issues meant that certain vocals were drowned out over other speech or the instruments. For many, this show has a lot to live up to, but Ghost: The Musical provides a good range for all audience types to enjoy. The laughs are plentiful, and break up an otherwise gloomy story very well. Moments of poignancy do not leave a dry eye in the house, but don’t worry, you’ll be tapping your toes again very soon! Runs until Saturday 5th April. Richard Scott 01-04-25 |
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