This review was originally written for The Reviews Hub: https://www.thereviewshub.com/ghost-the-musical-marlowe-theatre-canterbury/

Adding another name to the growing list of cult 90s movies turned musicals, Ghost The Musical brings its supernatural love story to the stage, pottery wheel and all, in this glitzy production.

The musical largely follows its 1990 film predecessor, with Sam gunned down and left in a purgatorial state desperate to warn mourning girlfriend Molly about the mortal peril she finds herself in, in his absence.

As Molly, Rebekah Lowings’ love struck portrayal, devastated by Sam’s murder, is well-pitched. Lowings’ delivery is assured, and combines well with St Clair’s Sam to create a believable, if not slightly two-dimensional, pairing. It is after Sam’s death that Lowings shines, especially in her pursuit for justice.

Alongside Lowings, Josh St. Clair’s Sam is gunned down in his prime and trapped in a purgatory struggling to make sense, initially, of his traumatic situation. St Clair’s despair at his death is understated yet effective, but this contrasts well the disconsolate Molly. St Clair also bounces well off of Tim Maxwell-Clarke’s ‘Hospital Ghost’ during the ironically buoyant ‘You’ve Gotta Let Go Now’ number in Act One, drawing out a restlessness in the character, watching his own death, that never disappears.

Jacqui Dubois’ fun portrayal of Oda Mae Brown injects some much needed life and energy into the production, particularly in the aftermath of Sam’s death. Meanwhile, James Mateo-Salt’s portrayal of duplicitous Carl is effective although, much like Molly and Sam’s relationship, the character feels a little lightly crafted in the production’s book.

As well as the leads, the production is aided by a strong ensemble cast who work tirelessly across both halves to bring some of the show’s trickier choreography to life. This is a slick ensemble performance, evoking busy subway trains and chaotic Manhattan streets at pace, and the group work admirably to try to keep the show’s pace up.

Mark Bailey’s design enables for quick scene changes, dominated by the Manhattan skyline in the backdrop that throws us straight into New York’s murky financial district. This is heightened with cute set pieces like a subway train, created with a translucent effect that enables some excellent physical theatre from the ensemble to take place seamlessly. Though hit with a lengthy technical delay during this press night, the complexity of the set works well to give this musical adaptation as suitable feeling of Hollywood.

Despite the hard working cast and glossy design, it is a show that feels tepid in its execution. The soundtrack, apart from ‘Unchained Melody’, is a little bland, with too many of the songs sounding similar, and the production’s uneven pace hits its momentum especially during the closing Act 1 number which feels, a times, a little endless.

Ghost The Musical, well designed and performed admirably by a strong cast, is a little like a ghost itself in that its quality floats in and out. Nevertheless, fans of the cult film will undoubtably go home happy as this unique love story unfolds.

Runs until 22 February 2025, then continues tour.