Love eternal comes alive in Ghost the Musical

Although the music was written by two pop music greats — Dave Stewart of the Eurythmics and Glen Ballard behind Jagged Little Pill and other hits — Ghost the Musical still has to produce a hit song. This is why it was such a surprise to watch the show and hear one engaging tune after another from the pop-rock soundtrack. With You and Nothing Stops Another Day by Molly are so touching. Focus by the Subway Ghost is cool hip-hop. And the roaring disco I’m Outta Here by Oda Mae is a guaranteed showstopper anywhere. 

So how come most of the audience at the Carlos P. Romulo Auditorium at the RCBC Plaza in Makati, where Ghost is playing on weekends up to May 11, were hearing the soundtrack for the first time? There is only one answer, Ghost’s curse or blessing, Unchained Melody. The urgent message of longing composed by Alex North and Hy Zaret way back in the ’50s is one of the most popular songs of all time. Hundreds of versions are in existence, including those by Roy Hamilton, Elvis Presley, Roy Orbison, LeAnn Rimes, U2, Sarah McLachlan and Cyndi Lauper.

The Righteous Brothers’ recording was used in the movie Ghost and it has since then become identified with the blockbuster film that starred Demi Moore, Patrick Swayze and Whoopi Goldberg. There was no way anybody could excise an “immortal” like Unchained Melody from the musical version of Ghost. I do not think that even the likes of Rodgers and Hammerstein could have done something about it. 

And so it stayed, an overgrown phantasm that hovered over the production where it was sang or heard in the background, including a Spanish version on the radio recorded by no less than Rachelle Ann Go. The soundtrack, though it turned out to be very good, suffered in comparison and the well-thought-out, crowd-pleasing works of Ballard and Stewart were relegated to the background. There is no way Ghost can be Ghost without Unchained Melody and that now iconic potter’s wheel love scene.

Fans of the movie will be glad to find out that both are in the musical in good measures. Almost like the movie. And also that all those special effects that dazzled back in 1990 are now up there on stage and executed live.  Modern technology is used to great effect in the show and I can honestly say that Ghost would not have been possible without it. And I do not mean just moving objects or passing through walls, but also in the use of video imagery in the amazingly fluid set design that goes from a New York street to the subway or from staid bank offices to a psychic’s den with a minimum of actual movement. 

 Of course, helping make the smooth transitions is Bobby Garcia’s direction. This is at its seamless best in Ghost, a remarkable feat considering that the script took in almost the entire screenplay and now also included songs. But everything moves at an easy pace, giving the audience ample time to feel Molly’s anguish, Sam’s desperation, Carl’s fear and to laugh at all those assorted thingamagigs going on in Oda Mae’s head or coming out of her mouth.

Casting has always been Bobby’s strong point and he drew another winner in Ghost. Well, Cris Villonco as Molly, is really no surprise. The least that this girl can be on stage is good and she is here, as always, excellent. It is also nice to hear her soprano explore the pop tunes. Then it also feels good to see a new name like Hans Eckstein do very well as Carl. Let us find out how he will grow more as an actor in future roles.

Now, the once tepid Christian Bautista as Sam is Bobby’s shining accomplishment in Ghost. It is great to see him do a role that is better suited to his personality and singing style than the romantic tenors of Cinderella and West Side Story. Sam has to be on stage throughout most of the play and requires a tightly wound, intense portrayal. It is a physically and emotionally draining role. But Christian delivers and leaves the audience teary-eyed.

As for Ima Castro as Oda Mae, her performance in Ghost should serve as a warning to actors in search of glory. Please make sure that Ima is not in the cast when you go off in your quest. She has a tendency to leave everybody panting by the wayside in her every scene. I grant that Oda Mae is one of the greatest female roles ever written but it still takes an actress of very strong caliber to bring her to life. Ima, hilarious, poignant and a razzle-dazzle singer and dancer did so magnificently.

Ghost choreography is by Cecile Martinez, musical direction by Ceejay Javier, assistant direction by Jamie Wilson, who is his usual best as the Subway Ghost and illusion consultation by Max Kaye of Zongle Creative, UK.