Ghost

As an iconic love story, the 1990 film Ghost is on the list of many people’s top 100 films. The central idea of love after death has touched everyone at some time, and the theme of “Unchained Melody” (beautifully constructed by Alex North back in 1955) is part of our psyche. That, and the astonishing scene where the ghost embraces his love as she sits at the Potter’s wheel, are moments we remember.

But let’s address the elephant in the room. Ghost is NOT a great musical. When the most memorable song in the entire show (which relies on the technical effects to dazzle) is nearly 60 years old and is not part of the show’s score, it’s safe to assume there may be a problem. It’s worth noting that “Unchained Melody” frequently features on “Best 100 Songs of All Time” lists, and it carries this show musically.

More kudos to Spotlight then for the premier production in Queensland of this polarizing musical. I must admit to having some skepticism on opening night, but, clearly, I had forgotten about CLAY….

No, I’m not talking about the stuff thrown on the potter’s wheel, but the director, choreographer, set and AV designer, special FX creator…oh and second lead actor as the dastardly Carl Bruner – Clay English (there are other credits too numerous to mention). On a miniscule budget English has somehow managed to create a sweeping landscape with elevators seemingly going up and down, a train turning at right-angles and coming at us head on, hands going through “solid” doors, and spirits leaving bodies. On a production level the show is a triumph, even more impressive when one is in a small theatre and close to the action on stage.

There is much to applaud in the casting too. Chris Ostrenski has a strong list of credits in the professional theatre world. He brings experience and stage presence, along with a fabulous voice and loads of charisma, to the lead role of Sam Wheat. Despite spending most of the show as a ghost, he connects with the audience as well as his beloved Molly and there is a palpable sense of yearning in the scenes where he is so close yet cannot touch his love. And when his voice soars it is the stuff of goosebumps.

As Molly, his love, Ebony Reeves is suitably lovely and totally credible as the grieving lover. Her big first act number “With You” is an emotional high in the show and perhaps the only song worthy of being alongside “Unchained Melody”. A little less vibrato would be welcome, but that is just a personal preference.

English himself stretches his inherent comic charisma and dance chops to play Carl, the “Baddie” in the piece, with his usual command, and not so usual restraint. He is always a force to be reckoned with, and his sheer height and presence make him suitably intimidating.

The show, even more than the movie, relies on the comic relief of Oda Mae Brown, the fortune teller who is the conduit between Sam and the world. I know there were question marks during casting as to how to re-create Whoopi Goldberg on the Gold Coast. Any fears are put to rest when Tracie Filmer takes the stage. Her mixed ethnicity gives her broader scope to explore the character, and she makes a meal of the role. Delightfully comic, alternately subtle and OTT, she sings up a storm in “Are You a Believer” and we’re hanging out for her other featured numbers.

It's fair to say these four characters/actors carry the show, but, as usual, minor casting is meticulous. Isaac Short (Clara Brown) and Jazmin Osborne (Louise Brown) have great comedic impact and stage presence in their roles as Oda Mae’s minions. Presumably (given the surnames) they are meant to be Oda Mae’s offspring, but that, like so many things, is never explained in the text.

Carey Parsons (The Hospital Ghost) has one of the best and hardest songs in the show “You Gotta Let Go” and really makes his mark; Marcelo Novaes is totally convincing as the killer Willie Lopez, and Sean Curran gives power and menace to The Subway Ghost, although I have always struggled with the point of this character, who seems to pull focus from Sam in their scenes together.

The ensemble is consistently good and handles English’s choreography with skill and commitment. When one thinks that this entire cast rehearses and works, and even paints the set for NOTHING other than the reward of being on stage, the mind boggles.