Ghost, The Musical

Ghost, The Musical

Wigston Amateur Operatic Society

May 2023

 

The Show

This was my first visit to a Wigston AOS show as a Noda Rep, and I’m already looking forward to the company’s next production.

Ghost, the Musical – in a word, powerful! Director Sarah Varnam, together with Musical Director Kate Bale and Choreographer Lydia Rushton have pulled off a successful stage musical presentation of a sensitive and challenging dramatic story.

Like the 1990 film it’s based on, the show follows the story of Molly and Sam, a young couple very much in love dealing with the ups and downs of a developing relationship. A significant ‘down’ in their case, very early in the show, is the killing of Sam in a New York street mugging! The remainder of the story involves Sam’s disembodied spirit trying to achieve justice and save Molly from entanglement in the situation which led to his own death.

Whether this is a ‘musical’ in the traditional sense, or a ‘play with music’, isn’t particularly important, but it’s relevant, in that effective telling of the story requires as much skill in dialogue and dramatic presentation as in the delivery of the musical content. Congratulations to Director Sarah Varnam for achieving this difficult balance.

 

The staging & orchestration

Technically, the show is a challenge. Wigston rose to it admirably. The cinematic ‘back-wall’ scenery projection was intelligent and effective in setting the various scenes without distracting from the onstage action. It also allowed maximum use of performance space and minimalist sets. Lighting, particularly in the subway scene, and in the well-staged motor accident, was very effective, as were Sam’s ‘ghostly’ movements, entrances and exits. Congratulations to Joe Roberts for the impressive technical direction.

The orchestra, hidden from view behind the backscreen and under the skilled direction of MD Kate Bale, was well-balanced and effective in supporting the many and varied musical numbers, making sure that the addition of music enhanced the audience experience without detracting from the story’s drama.

 

 

The cast

As Sam, who spends most of the performance as his own ghost, and is rarely offstage, Keiran Whelan-Newby was unerringly convincing. His presence, for the most part unnoticed by other cast members, was quickly believable and sustained throughout the performance. Keiran’s dramatic sensibility and stage presence brought reality to an ‘unreal’ role.

Sammy Williams, as Sam’s partner Molly, was a joy. Her acting, as tolerant lover, frustrated sculptor, tragically-bereaved partner and eventual beneficiary of support and assurance of Sam’s love from beyond the grave, was moving and convincing. She looked just right, and in her several musical numbers, especially the early ‘With You’ and her ‘Unchained Melody’ duet with Sam towards the end of the show, sounded superb.

Paul Knight, as Carl Bruner, transitioned effectively from ‘best friend’ of Sam & Molly to the ‘bad guy’ causing Sam’s death in an attempt to steal valuable commercial information. The discovery of his ulterior motives was convincingly surprising, and his attempted seduction of Molly, after Sam’s death, dramatically creepy.

‘Ghost’, as the subject matter suggests, isn’t strong on comedy. But there is light relief, and laughs, in the performances of the spiritual medium Oda Mae Brown. Katie Wilson, supported by Charlene Wissett and Charlotte Beaver, made the most of this character’s opportunities to present some burlesque entertainment, much to the evident enjoyment of the large and appreciative audience.

Jay Kenney as the ‘street mugger’ Willie Lopez, was convincingly and darkly villainous, and the experienced Ady Bale, & son Jacob in his first show, provided tuneful support as the two hospital ghosts encountered by Sam shortly after his own untimely demise.

A particular mention is appropriate for Lucy Foreman as the ghost  confronting Sam on the subway, providing a lesson in supernatural skills. Her performance as an unbelievable character was in fact believable. Her ‘rap’ song ‘Focus’ was skilfully delivered and one of the show’s highlights.

Ensemble numbers were well-staged, nicely choreographed and enthusiastically presented, adding life, colour and ‘big number’ movement.

 

A great theatre evening, and a pleasure to see a show that beforehand I knew very little about and, together with my wife, enjoyed very much.

Well done, Wigston AOS, and thank you.

Colin Blackler

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