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a Musical
by Bruce Joel Rubin, Dave Stewart, and Glen Ballard

COMPANY : Broadway Across America [WEBSITE]
VENUE : The Fabulous Fox [WEBSITE]
ID# 4519

SHOWING : November 05, 2013 - November 11, 2013



Relive the iconic and magical moments from the Oscar-winning movie Ghost in a brand-new Broadway musical. Ghost The Musical breathes glorious new life into a timeless love story. The musical features an original pop score from multiple Grammy Award-winners Dave Stewart, one half of the 80s pop duo the Eurythmics, and Glen Ballard, co-writer with Alanis Morissette on the multi-platinum album Jagged Little Pill, among many other notable credits and collaborations. The musical’s tale of everlasting love is thrilling entertainment for audiences of all ages.

Adapted from the hit film by its Academy Award-winning screenwriter Bruce Joel Rubin, Ghost the Musical follows Sam and Molly, a young couple whose connection takes a shocking turn after Sam’s untimely death. Trapped between two worlds, Sam refuses to leave Molly when he learns she is in grave danger. Desperate to communicate with her, he turns to a storefront psychic who helps him protect Molly and avenge his death.

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Borin’ Borin’ Borin’ Borin’ Bore
by playgoer
Monday, November 11, 2013
If you’re deaf, "Ghost" might be a good choice for you to see. Of course, at the sound levels at which the score is played, you might end up deaf afterwards anyhow. Not that you’ll be able to understand many of the lyrics, since the balance is heavily weighted to the orchestra, and most of the leads don’t try terribly hard to be heard. Even so, it’s not a big loss -- the lyrics are overwhelmingly banal, and most songs seem to take a single line of dialogue and extend it, repeating or restating it. As an example, take the song "More," which repeats "More and More and More and More and More" endlessly, with the poor diction and sound levels making it easily misunderstood as repetition of the word "bore."

The visual aspects of the show are the calling card for "Ghost." Video projections abound. In fact, the show starts with a long, moving shot through the skyscrapers of New York, ending with the projected title "Ghost." Projections show dancer silhouettes during the dance numbers, moving in synchronicity with the live dancers. The projections often move, giving convincing impressions of moving subways and elevators. It’s a visually overactive show, with the technical wizardry apparently an attempt to draw attention away from the many weaknesses in the script and performances.

Male leads Steven Grant Douglas (Sam) and Robby Haltiwanger (Carl) don’t seem to be working very hard onstage, their mouths and faces barely moving when they sing. The female leads, Katie Postotnik (Molly) and Carla R. Stewart (Oda Mae Brown) work harder, but Ms. Stewart overacts at every opportunity. Only Ms. Postotnik impresses. Much of the cast, leads and ensemble alike, are making their national tour debuts. It’s not a particularly auspicious debut, although no one seems to be making mistakes. There’s a general sense of ennui, perhaps due to having to perform substandard material eight times a week. Director Matthew Warchus is based in London, and I think it can be safely assumed that he has little oversight over the tour.

The visual illusions, by Paul Kieve, are the only things about the show that are truly admirable. A subway sequence of levitating objects, an effect of walking through a door, and a self-folding piece of paper are all remarkable. They’re remarkable in their own right, and also support the story, which is basically the movie moved to the stage with musical sequences added. I think I would have preferred it without the musical sequences, or with musical underscoring under dialogue. As it is, there are multiple instances of song lyrics and dialogue being delivered in an overlapping way. At least that reduces the running time by a couple of minutes, I guess. The less "Ghost," the better. [POST A COMMENT REGARDING THIS REVIEW]


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