Book and
Lyrics by Bruce Joel Rubin
Music and
Lyrics by Dave Stewart and Glen Ballard
Directed by
Matthew Warchus
Choreographed
by Ashley Wallen
Musical
Director – Dave Skelton
Theatre
Royal Sydney 19th March 2016.
Reviewed by
Bill Stephens
No matter
what your reaction was to the heavily sentimental, paranormal 1990’s movie,
which starred Patrick Swayze, Demi Moore and Whoopi Goldberg, this dazzling new
stage adaptation, with its astonishing state-of-the- art high-tech wizardry and
compelling central performances, provides an exciting and remarkably moving
theatrical experience.
Adapted by
Bruce Joel Rubin, who won an Oscar for best screenplay for the film, and
directed by Matthew Warchus, who also directed “Matilda – The Musical, this
stage version takes full advantage of the possibilities offered by LED screens,
video projections and even illusionists, to create some truly remarkable stage
moments, and for those interested in such things, is an excellent example of
contemporary music theatre staging. But as clever as the effects are, it is ultimately
the performances of the excellent cast that leaves the strongest impression.
 |
| Rob Mill and Jemma Rix as Sam and Molly |
Jemma Rix
and Rob Mills are beautifully teamed as the young lovers, Molly and Sam, who,
as the musical commences, are discovered busily setting up their dream
apartment in a New York loft. Molly is a young artist and Sam, a high-flying
banker. On their way home from a celebratory dinner, they are mugged and Sam is
murdered before he can tell Molly he loves her.
However Sam’s ghost lingers, and discovers that, through a
pseudo-psychic, Oda Mae Brown (Wendy Mae Brown), he can communicate with Molly.
The
storyline remains faithful to the film and scenes set in busy offices, on
trains and rainy New York streets transition seamlessly through a series of
cleverly choreographed production numbers which propel the story forward. Despite the technical wizardry however, it is
the scenes in the loft, between Molly and Sam which linger in the memory, particularly
the hyper-romantic pottery wheel scene, which of course is what everyone has
come to see. It works a treat, thanks to the committed, emotionally –charged
performances of Rix and Mills both of whom exude genuine star quality in these
physically demanding roles.
The audience
is always aware that Sam is a ghost, and that Molly can’t see him, but the
physical chemistry between Rix and Mills makes their scenes together totally convincing
and affecting.
Mill’s
larrikin version of the hit song “Unchained Melody” in the first act was
particularly appealing, while Rix provided a vocal highlight with her beautifully
sung interpretation of “With You”.
Several
members of the cast are reprising the roles they played in the U.K. and touring
versions, among them David Roberts, who replaced Alex Rathgeber, as Sam’s
disloyal and treacherous friend, Carl Bruner. Roberts has a fine voice and presence and his
journey from helpful friend to hysterical drug-addled assassin is chillingly
realised.
 |
| Wendy Mae Brown as Oda Mae Brown |
Totally
delightful is Wendy Mae Brown, big, bold and exuberant as Oda Mae Brown, the
role which won Whoopi Goldberg an academy award as the pseudo-psychic who gets
more than she bargained for when Sam discovers that he can use her as his
medium for contacting Molly. Brown lights up the stage on every entrance and
her introductory number, “Are You A Believer?” which she performs with two
other generously proportioned off-siders, Evette Marie White and Lydia Warr, is
total pizazz.
David Denis
as the Subway Ghost and Ross Chisari as the low-life hit-man, Willie Lopez,
both contribute memorable performances, and it was good to see former Canberran, Blake Appelqvist, among the hard-working ensemble.
 |
| Jemma Rix and ensemble |
The sound
design is pin-you-back-in-your-seat loud, which seems appropriate for the New
York street scenes, but rather overwhelming for the more intimate passages.
Despite all the technical wizardry surrounding it however, Dave Skelton’s
comparatively small pit band manages to make its presence felt achieving a
satisfyingly punchy account of the attractive score.
 |
| Wendy Mae Brown, Rob Mills and Jemma Rix |
This review first published in the digital edition of CITY NEWS on 21.03.2016
