Ghost

I admit that I was initially dubious as to how this show could work on the amateur stage. All I (and I’m sure many other people) have had to compare the staging of this show against is the production at the Opera House before it transferred to London’s West End a few years back; a show which was indeed a visual spectacle with an LED set and some of the most impressive live effects I’d ever witnessed, so marvellous that when this show was announced for amateur release, it seemed somewhat preposterous.

I’m relieved to report that the design of this production worked. It needed to be simple to be staged at the MET and the simplicity of the design didn’t dumb down the show, in fact I felt it heightened and forced us to focus on the substance of the narrative. Those who remember the film from 1990 will know that this story is an emotional tragedy and one factor which this PADOS Youth production highlighted was how the big spectacular gestures in the original stage show drowned out some of the more important, subtle features.  

The score is for the most part quite forgettable, it doesn’t currently resemble any existing genre of musical theatre making it a unique show which I feel, in its original conception, was attempting to create a cornerstone - though whether this immense risk has quite done so…? I’m not decided. This show is one on its own in many ways which does contain one (maybe two) nice tunes within it! 

The team had fought the challenges of the special effects head on, the crew and creative team did not go for an easier option or cut corners which was admirable indeed, resulting in some very impressive moments. The most impressive for me were the ones which required such immaculate timing, in particular, the sound effects which coincided with the actors movements, really well delivered.

The traitorous Carl was played by George Platt who didn’t annunciate clearly, throwing so many of his lines aside was a great shame. Articulation exercises are something for him to focus on to enable a stronger and clearer delivery. George has a natural and highly confident presence on stage which is extremely encouraging giving him the foundations to become a strong performer though vocal technique and delivery is area for improvement.

The flamboyant psychic, Oda Mae Brown was sturdy support. Dalia Kay’s characterisation was packed with guts and humour, she gets the best lines in the show and it’s her who gives the story a much needed shot of warmth, comedy and colour, in contrast to the underlying themes of loss and corruption, brilliantly portrayed!

Arnold Mabhena as Willy Lopez was excellent. Arnold created a strong and interesting character supported by a natural and charismatic persona which made him an absolute joy to witness, a well-rounded and solid performance. 

Wherever possible, I try to avoid attending shows on opening night as productions do have a tendency to improve through the run but on the flip side, a disadvantage to this is that performers sometimes get tired and you can hear worn out and strained voices by Saturday. A show which requires a demand as high as this from its cast, it’s inevitable to take its toll and on this particular performance I sensed the ensemble feeling the impact as energy could have been up a notch or two and the vocals were proving to be a challenge for them.

The chemistry and connection between lovers Sam and Molly is convincingly established right from the beginning.

Courtney Fannon as Molly was a strong female lead who found the genuine and powerful emotion in her character and translated these believably, her vocals were a prominent aspect of her performance delivering demanding numbers which were enormously compelling.
Sam is a tough role to convey in so many aspects and Jack Forrest did a creditable job, vocally exposing his strengths whilst his acting ability was challenged and dealt with to a high degree.

Timothy Platt’s action moved swiftly and smoothly from loft apartment to subway train, rainy street to police station and not forgetting an ingenious elevator (which I loved). He must be commended on his vision to adapt the piece to work for a youth cast and a venue with such restrictions while still enabling a worthy presentation. 
The modern inspired score was kept in tight check by musical director, Steven Sandiford who created the desired (slightly computerised) sound to the show while Helen Wilkinson brought the musical numbers to life as the shows choreographer.

Unlike the stage version of ‘Dirty Dancing’, it's not necessary to know the movie to enjoy the stage version of ‘Ghost’, but those who are familiar with the film will not be disappointed. The iconic pottery scene puts in an appearance (albeit a part which seemed out on a limb with the rest of the action though I fully understand it needed to be in there somewhere given it’s so iconic). And, the hit song which was given a new lease of life from the film; "Unchained Melody" is cleverly incorporated into the show too.

PADOS Youth wooed, charmed and captivated the audience with this production. Laughs and tears in all the right places! A truly superb result.

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