Ghost The Musical

In musical theatre, specific productions leave a lasting impression, captivating audiences with powerful storytelling and unforgettable performances.

Ghost is one of them. It is a musical that weaves together themes of love, loss, and redemption and resonates with all of us, forming a mesmerising tapestry of music and drama. Directed by Cierwen Newell alongside Ruth Newell as AD, Ghost takes a supernatural, heartfelt journey through the afterlife, exploring the enduring power of love beyond the boundaries of life and death and the unbreakable human bond.

Based on the 1990 film of the same name, Ghost debuted on the West End stage in 2011 before crossing the Atlantic. The musical's origins lie in the creative vision of Bruce Joel Rubin, who adapted his screenplay for the stage with music and lyrics by Dave Stewart and Glen Ballard and now Blackout Theatre Company is producing the amateur premiere of Ghost.

At its heart are its compelling characters; the protagonist, Sam Wheat (Luke William Harris), is played with beautiful vulnerability. We follow the journey from a loving partner to a ghost seeking justice for his untimely death. We feel his frustration, anger, and yearning as he accepts his fate and tries to protect the one he loves deeply but cannot tell her before it is too late. A stark reminder of how short life is. His love, Molly Jensen (Sarah Vandenberg), is the emotional core of the production, her resilience and sorrow are in equal measure. She is compelling and relatable, and the audience loves her.  Vandenberg shines in “Unchained Melody” and “With You”, showcasing her powerful vocal range.

The antagonist, Carl Bruner (Rob Hale), oozes charm and deceit, making him a formidable presence on stage. Hale nails Carl’s morally ambiguous nature, vocal prowess on full display as his manipulative schemes come to the forefront during the climatic numbers like “More”. 

Eccentric Oda Mae Brown (Jacqui Peres) comes close to stealing every scene she is in with her comic timing and infectious energy. Her musical numbers “I’m Outta Here” and “Are You A Believer” were crowd favourites, and her sidekick sisters Louise (Kate Simmons) and Clara (Lucy Giles) deliver much-needed comic relief. 

Notable performances also came from the electrifying Liam Vicari as the enigmatic subway ghost and Matthew Mey as Willie Lopez, who creates a sense of foreboding with his sinister performance.

Ghost is full of unforgettable musical highlights, which punctuate the emotional journey of its characters, from show-stopping ballads to heart-pounding dance numbers. The score soars under the guidance of musical director Koren Beale and the Ghost band. Beale has cleverly added 8 pit singers, which brings power to ensemble numbers. The show boasts a collection of iconic songs, including “Unchained Melody”, which will undoubtedly be recognised, while powerful ensemble numbers like “Suspend My Disbelief/I Had a Life” and “Rain” showcase the cast's and musicians' combined talents. 

The choreography (by Daniel Lavercombe and Milly Caruana) is dynamic and expressive, blending contemporary dance with traditional musical theatre elements. The intricate movements of the ensemble cast mirror the emotional beats of the music; it’s precise, and they move as one like the beat of a heart. 

The stage is relatively bare except for doors and tunnels flanking each side. Blackout have moved away from the set choice and levels used in recent shows and the stage crew (under the lead of Stage Manager Stephen Hellies) work damn hard to quickly move set pieces along with the cast and have minimal blackouts. You will see them moving about, but it will not be distracting. 

Newell has poured mountains of energy into the tech. This director has planned this show for a long time. She notes in the program that she enjoys emerging tech and ways to immerse an audience in her shows. For Ghost, she has installed a 10 by 4 metre LED wall. She uses digital projection heavily, seamlessly transitioning between the bustling streets of New York City, a Boston loft and the ethereal realm of the afterlife. From the vibrant cityscape to the haunting subway station, each scene is brought to life with meticulous attention to detail. It feels like New York, like Boston, like a hospital waiting room fit for a Hospital Ghost (Tristian Foon) to whip up an energetic cabaret in “You Gotta Let Go Now”. 

If you have seen the movie, you will see the dead confusing the living with ghostly powers. This time, the audience will wonder how a photo frame got knocked off a table. How did that item on screen appear in real life? Why is that rubbish moving by itself? How did that ghost walk through a solid door? Not to reveal all the tricks (trust me, I wouldn’t be able to if I tried), but Newell uses framed glass pieces, surround sound, voice effects and her animated LED wall to surprising effect, at times merging the physical and digital world. The team must have tirelessly teched this show, given the quick turnaround to bump with limited time in the theatre and bring it to opening night with such flair. Keep an eye out for the coke can. I won’t spoil it, but it is one trick that will have you scratching your head. It’s hard believe this is possible in community theatre 

Newell's vision is bold and innovative, blending the story's supernatural elements with a contemporary sensibility. Her keen eye for detail and passionate storytelling shine through, from the nuanced character interactions to the sweeping musical numbers. Ghost can transport audiences to a world where love knows no bounds and the human spirit triumphs over adversity. The love and loss remind us of the enduring power of connection and the beauty of life's fleeting moments. It enchants and enthrals, and it’s here right now. Bravo. 

Nicole Smith

Images: Light Up Photography