Ghost the Musical currently on tour and stopping at the Regent Theatre in Stoke, is a spellbinding adaptation of the classic 1990 film that captivated audiences with its blend of romance, mystery, and the supernatural. At the heart of the story is the tragic love between Sam Wheat and Molly Jensen, whose world is shattered when Sam is murdered in a botched mugging. Trapped between life and death, Sam discovers that his killer, Carl, isn’t done yet. Desperate to protect Molly, he turns to an unlikely ally in Oda Mae Brown, a storefront psychic who suddenly discovers that her supposed “powers” are real. This stage adaptation, with a script by Bruce Joel Rubin based on his Oscar-winning screenplay, retains the emotional resonance of the film while adding new layers through powerful music by Dave Stewart and Glen Ballard.
Leading the cast is Rebekah Lowings as Molly and Josh St. Clair as Sam, both of whom rise to the demands of their iconic roles with memorable performances. Lowings delivers an emotional and vocally stunning portrayal of Molly, especially in her solo numbers that convey raw grief and longing. Her rendition of “With You” is a vocal highlight of the show, capturing Molly’s heartbreak and resilience with precision and warmth. Josh St. Clair embodies Sam’s journey from lover to lost soul with commendable physicality, especially as he navigates the frustrations and limitations of being a ghost. The chemistry between Lowings and St. Clair is authentic and beautifully rendered, making their scenes together resonate with the audience.
Jacqui Dubois as Oda Mae Brown steals the show with her exuberant energy and sharp comic timing. Bringing her own twist to the role made famous by Whoopi Goldberg, Dubois injects humour and charm into the story while adding depth to Oda Mae’s character arc. Her scenes add much-needed comic relief without overshadowing the emotional core of the show. Dubois brings infectious charisma to the role, especially in crowd-pleasers like “Are You a Believer?”, which had the audience laughing and rooting for her from start to finish.
James Mateo-Salt portrays Carl Bruner, Sam’s friend-turned-betrayer, with a simmering intensity, although his character occasionally feels underwritten. Despite this, Mateo-Salt does an admirable job of adding dimension to Carl, making him a fitting antagonist in the story’s progression. Carl’s interactions with both Molly and Sam (when he senses his presence) add tension, creating suspense and pushing the story forward effectively.
The production’s technical elements shine, adding a distinct supernatural feel to the show. Mark Bailey’s set design is ingenious in its adaptability, using minimal but effective pieces to recreate a range of settings from a New York apartment to a psychic’s eclectic shop. Nick Richings’ lighting design elevates key moments, shifting from hauntingly dark to warmly intimate as needed. Richard Pinner’s illusions bring moments of magic to the stage—most notably in scenes where Sam transitions between the physical world and the ghostly plane, leaving the audience spellbound.
Musically, the show is rich and evocative. The orchestrations, performed by an onstage band, are beautifully rendered, capturing the soulful undertones of the story and complementing the performances well. The Righteous Brothers’ “Unchained Melody” remains a timeless centrepiece, used to perfection to underscore Sam and Molly’s relationship. While the music by Dave Stewart and Glen Ballard provides many highlights, a few of the additional songs feel somewhat extraneous. Certain numbers, while pleasant, do little to propel the story, leaving the audience waiting to return to the more poignant parts of the narrative. In addition, some numbers, like “You Gotta Let Go Now” feel totally out of place and tonally inappropriate. This number in particular comes straight after Sam’s death and offers the audience no opportunity to stay in the moment see Molly’s grief.
One area where the show falters is in the ensemble choreography. While movement by Alistair David is well-conceived in the main scenes, the ensemble numbers lack purpose and sometimes feel out of sync with the story. The group numbers add little to the plot or emotional weight, and the choreography, though executed with energy, feels underutilised, given the show’s potential.
Supporting cast members add texture to the production. Les Dennis, known for his legendary status in British entertainment, delivers dual roles as the Hospital Ghost and Lionel Ferguson with ease. It did, however, significantly irk me that Dennis got a bow after Mateo-Scott’s Carl which feels vastly inappropriate as Dennis does very little during the show and has little stage time. Stunt casting should not cause hard-working performers to be shown as secondary. Meanwhile, Garry Lee’s portrayal of the Subway Ghost adds a menacing touch to the show, reminding the audience of the dangers and frustrations Sam faces in his ghostly form. The entire cast delivers strong performances, making each scene feel alive with character and purpose.
In conclusion, Ghost the Musical at the Regent Theatre is a moving and visually impressive production that succeeds in translating the iconic film to the stage. The show’s success lies in its emotional core and the excellent performances of Lowings, St. Clair, and Dubois, who bring the characters of Molly, Sam, and Oda Mae to life with passion and authenticity. While some songs may feel extraneous and the ensemble choreography could be more cohesive, the production’s strengths far outweigh its weaknesses. With stunning visuals, heart-wrenching music, and a story that tugs at the soul, Ghost the Musical offers a memorable and touching theatre experience that captures the enduring power of love across life and death.
Ghost the Musical plays at the Regent Theatre until Saturday 16th November where it will continue its UK tour.
Production photography by Alastair Muir
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