Review: The Wedding Singer, Curve

“Pour a double gin,
here’s to your double chin”

Back when Adam Sandler was, you know, tolerable, he did rom-coms like 1998’s The Wedding Singer and where even moderately successful films go, musical theatre adaptations surely follow. Tim Herlihy adapts his own screenplay along with lyricist Chad Beguelin, and original music comes from Matthew Sklar, and the result is a perfectly competent piece of musical theatre which is fun without ever really being fantastic.

Opening at Leicester’s Curve ahead of a 8 month long UK tour (dates and venue at the end of this review), you can see where Nick Winston’s production has made its key decisions – Francis O’Connor’s set has its eye on quick get-outs and so Jack Henry’s video projections do a lot of the heavy lifting in setting the 80s milieu. And the casting mixes West End reliability with TV name recognition, the cherry on the cake of course being Ruth Madoc. Continue reading “Review: The Wedding Singer, Curve”

CD Review: Ghost The Musical (Original Cast Recording 2011)

“This is always such a rush”

Some musicals are slow-burners. They may not hit you with their full force on first viewing but rather repay revisits and repeated listens to cast recordings to unfurl the depth of their appeal. So it was for me with Legally Blonde, and also with Ghost the Musical – a show I saw twice in the West End and again on its 2013 tour, liking it more and more each time.

And a large part of that was the way in which Glen Ballard and Dave Stewart’s pop/rock-based score took its time to sidle its way into my affections, not necessarily the kind of music that would appeal to me but ultimately proving irresistible in its finest moments. And it is remarkably diverse too, pulling in from a wide musical palette whilst stamping out its own identity as something refreshingly different from your typical musical theatre score. Continue reading “CD Review: Ghost The Musical (Original Cast Recording 2011)”

Review: Ghost the musical, Piccadilly

“You in danger gurl!”

In the story of Ghost the Musical, it is the character Molly who is the ‘gurl’ in danger, but it turned out to be the woman saying it, Sharon D Clarke’s Oda Mae Brown who should have paid heed as a broken foot has ruled her out of the show for a while now and possibly out of the Broadway transfer too. I was particularly gutted as she was one of the main reasons I had booked to see the show, to catch the original leading cast before they trot over to New York to open the show there, and Clarke had been cited as one of the main attractions of the show.

As the show premiered in Manchester, my parents were amongst the first to see it and I even got my dad to write about his opinions for me on this very blog. But even despite his qualified recommendations, I couldn’t quite work up the enthusiasm to fork out for the show and it was only this imminent departure of Caissie Levy and Richard Fleeshman that got me there (which is ironic in itself as I don’t really see what all the fuss is about with Levy and Fleeshman struggled for me in Legally Blonde). But off to the Piccadilly I went with my mixed feelings, along with a pleasingly diverse crowd of theatregoers, and I left with mixed feelings too. Continue reading “Review: Ghost the musical, Piccadilly”

Guest Review: Ghost – the Musical, Opera House Manchester

I owe all sorts of things to my parents, not least my love of theatre to which I was introduced from an early age, and though our tastes coincide on many things (Propeller’s Richard III being the most recent example), they vary on others and I was quite surprised when they announced that they were going to see Ghost – the Musical in its premiere run at the Opera House in Manchester. So, I prevailed upon my father to write up his thoughts in advance of my trip to see the show when it moves down to the Piccadilly Theatre in London on 22nd June and so I present to you, unedited, the real Mr Foster đŸ˜‰

Sometimes, it pays not to expect too much. That way, you stand a chance of being agreeably surprised, as I was by how much I enjoyed ‘Ghost – the Musical’.

Whoopi Goldberg apart, I was no big fan of ‘Ghost – the Movie’, so I wasn’t anticipating that a musical version sticking very faithfully to the film screenplay would appeal all that much. However, the show is visually spectacular and features some impressive performances by a strong cast. Dave Stewarts’s songs, though not particularly memorable (I didn’t come away humming any of the tunes), are well crafted and listenable. With one clunking exception, of which more below, the weaving of the songs into the storyline is skilfully done.

The lead performances are very good. As in the film, Oda Mae Brown is crucial, because she gets most of the best scenes and lines, and Sharon D. Clarke is outstanding in the role, with terrific stage presence, good comic timing and a rich, deep, soul singing voice. Her introductory number ‘Are you a Believer?’, sung with her two assistants, is a cracker (for older readers, think The Pointer Sisters ‘It’s Raining Men’) and her final routine, ‘I’m Outta Here’, was my favourite bit of the show.

Richard Fleeshman and Caissie Levy are engaging and likeable as Sam and Molly. Both have really good singing voices, even if they did tend to get a bit ‘shouty’ (especially Fleeshman) as some of the songs reached a loud climax. In fairness, they at times had to compete with an overloud band. Their first song ‘Here Right Now’ lifts the start of the show after a rather sluggish opening scene and the excellent ‘Rain / Hold On’ gets Act 2 off to a flyer. I also liked Molly’s solo ‘With You’.

The rest of the cast provide solid support. Andrew Langtree as the baddie Carl is a better actor than singer; Adebayo Bolaji is spectacular as the subway ghost; and the ensemble provide energetic backing to many of the musical routines.
Visually, the show is terrific, with an imaginative set, superb lighting and some dazzling special effects. The set is basically a box, but all of the walls move in and out to create other scenes and the walls are video screens, used particularly well to give pace and energy to the street and subway scenes. There are also conveyor belts across the stage and these are used effectively in the crowd scenes.

There are some flaws. As already indicated, the first act is a bit slow to get going and the sound balance is poor on some of the songs, meaning the singers are struggling to make themselves heard and the lyrics are difficult to make out. For me, the show’s worst feature by a distance is the song ‘Ball of Wax’. It is sung to the newly-dead Sam by a chorus of ghosts and is a jokey ‘you’re a ghost now’ number. Coming as it does after a dramatic murder scene, done with some clever special effects, the song is completely out of place and spoils the atmosphere they have worked hard to create.

Notwithstanding these reservations, ‘Ghost – the Musical’ is an engaging and entertaining watch. It is playing to packed houses in Manchester and every performance has apparently received a standing ovation (it certainly did the night I was there). Not sure I’d go that far but it was a thoroughly enjoyable evening.

Rob Foster