Ghost - The Musical

“Ghost – The Musical” is an adaptation of the film of the same name, and this production had been in preparation for over three years.  It is very faithful to the film, unsurprising when you consider that the book and lyrics are by Bruce Joel Rubin, who wrote the original screenplay.  One consequence is that there are 41 scenes cutting between 10 or so distinct locations, potentially making the musical very challenging to stage.  Banbury Operatic Society’s response was to use a video wall, an incredibly ambitious decision.

I have never previously seen such a wall used in an amateur production, but the risk paid off handsomely.  Not only did the wall complement the cinematic nature of the piece, it also allowed the scenes to flow rapidly and almost seamlessly so the pace never flagged.  The best settings, particularly the subway station, were brought thrillingly to life, and the wall also allowed for some exciting special effects, such as the digital banking figures and the spirits in the air.

Interestingly, a lot of the special effects in the show were achieved through traditional stagecraft rather than digital wizardry.  Sam’s death, for example, used a double to allow his ghost to rise from his body, a scene that bore the hallmarks of careful rehearsal.  Sam’s subsequent ability to pass through solid objects was demonstrated using a cleverly constructed doorway, while careful attention to sight lines allowed Sam to strike out at people while creating the illusion that his hand had passed through them.  The two scenes in which Oda Mae Brown is possessed by spirits were carefully presented.

The impressive digital technology meant that there was a danger that the love story at the heart of “Ghost” would be lost, but the Director ensured that the staging served the story and not the other way round.  This was a brave and ambitious production; a technical tour-de-force sustained by some excellent performances by the central characters.

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