BWW Reviews: GHOST THE MUSICAL at Hale Centre Theatre West Valley is Deeply Moving, Despite Production Flaws

GHOST THE MUSICAL is a deeply emotional, deeply spiritual piece of theatre, and its regional premiere production at Hale Centre Theatre in West Valley is no exception, despite its flaws. The story is engaging and incredibly moving, and the music is breathtakingly beautiful.

GHOST THE MUSICAL (book and lyrics by Bruce Joel Rubin, music and lyrics by Dave Stewart and Glen Ballard), based on the Oscar-winning 1990 film, is about love that transcends death as Sam Wheat watches over his beloved Molly from beyond the grave. When he learns she is in danger, he goes to great lengths to protect her and help her move on with her life.

MacKenzie Seiler is perfection as medium Oda Mae Brown (double cast with McKenna Jensen). Her infectious personality, on-point comedic timing, and crackerjack vocals breathe fresh air into every scene in which she's featured.

Marshall Madsen as Carl Bruner (double cast with Kris Paries) and David Martin as the Hospital and Subway Ghosts (double cast with Ames Bell) are also highlights in the small cast (including an underutilized ensemble).

The lovers around whom everything revolves are played by Derek Smith as Sam Wheat (double cast with Keith Evans) and Anna Daines Rennaker as Molly Jensen (double cast with Bre Welch).

Together they create a warm chemistry, which is palpable in the pottery wheel scene and final dance--highlights of this production due to great direction and acting.

As evidenced by their impressive run as Tarzan and Jane in Hale Centre Theatre's wonderful production of Disney's TARZAN, as well as a number of other starring roles, Smith and Rennaker are both very talented individuals. However, they have been miscast here.

Although both have musical moments in which they really shine, their vocal performances fall flat, both literally and figuratively. Smith fares better than Rennaker, but mostly because his role is not as vocally challenging.

This is a contemporary pop Broadway score, written to be belted and sung with a bright, straight tone and little vibrato. Portions of the score that should have thrilled through a combination of emotional weight and technical complexity are stripped of their power as the singers struggle with the range, style, and difficulty of the music. It is devastating that so many potentially impactful moments are lost.

Part of the blame should go to the inconsistent sound design, which in this show should enhance the ethereal nature of the vocals. Sometimes it does just that, and when it does, the music takes on a heavenly quality. When it doesn't (like in the opening number "Here Right Now"), the flaws in timbre and pitch are exposed, and the audience's connection to the characters and their relationship is impeded. The muddled balance of the soloists with the recorded tracks, unnecessary live instrumentalists, and little-seen ensemble is also an issue.

The two-tiered scenic design by Kacey Udy, while technically and visually impressive as always, is similarly flawed in that it only reflects the grittiness of the setting and not the ethereal themes. The top level works very well in the subway scenes, but otherwise it compresses the open space and creates a near-claustrophobic feeling rather than the intimate appearance that is probably intended.

Lighting designer Adam Flitton lights many of the scenes masterfully, and the spotlight operators are to be applauded for their great work keeping Sam constantly awash in blue light. However, if colorful, artistic lighting were employed more often and more prominently throughout the show, the atmosphere within the set may feel less dark and more ethereal.

GHOST THE MUSICAL is a show that features otherworldly characters and events, and fittingly the original London and Broadway productions heavily featured illusion and special effects. While it is obvious that many tricks originally employed would be simply impossible to make work on the Hale's intimate round stage, there seems to have been little to no effort to add spectacle or illusion to this production, as they have done in previous shows such as ZORRO THE MUSICAL and MARY POPPINS. If an illusion expert had been engaged to integrate even just a few flourishes, it could have greatly added to the audience's sense of wonder.

Is it worth seeing? Although this production does not do justice to the show, it is quite possibly the only chance Utah audiences will have to see one of the best contemporary musicals. And Hale Centre Theatre should be supported for their desire to provide exposure to a show that is new, different, and truly worthwhile. So yes, do go. And then put the original cast album on repeat.

GHOST THE MUSICAL plays through April 11, 2015. For tickets, call the box office at 801-984-9000 or visit www.halecentretheatre.org.

Photo Credit: L-R Anna Daines Rennaker (Molly Jensen) and Derek Smith (Sam Wheat)

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