Theatre at the Center’s “Ghost” Comes Off Life Support

Ghost – Theatre at the Center

 

For millennia humanity has contemplated what lies beyond the mortal coil; philosophers, poets, and holymen alike have argued and toiled with great ardor over the unknowable elusivity of the afterlife — and its spiritual ramifications upon the mortal plane. Theatre at the Center takes a shot at this gnawing existential dilemma with the critically divisive Ghost: the Musical.

The plot is relatively unchanged from that of the 1990 romance-thriller source material — Theatre at the Center sums up the plot rather succinctly: “This musical adaptation of the 1990 Academy Award winning film follows the love story of Sam and Molly [played in this production by Chicago community hard-hitters Garrett Lutz and Courtney Mack]. After Sam’s untimely death, he tries to protect Molly from an unknown threat. In an attempt to communicate with her, he enlists the help of a storefront psychic [the role of Oda Mae here played by the gut-busting powerhouse Donica Lynn] to hilarious and harrowing effect.”

While the plot of the original remains largely intact through this musical adaptation, the tonal focus and emotional dynamics of the classic movie are buried six feet under. Book and lyrics by Academy Award winner Bruce Joel Rubin are at some times charming, and at most other times cloying, unnatural, and thematically incomprehensible — music and lyrics by Grammy winners Dave Allan Stewart and Glen Ballard do no favors to the unsteady framework of this adaptation. At best, this material is entertaining — even heartwarming — yet at its core, Ghost: the Musical is a thematically obfuscated cacophony of superfluous pop tunes and half-effective one liners.

Baring in mind the structural insufficiencies of an incomplete book and an inconsequential score, the cast and crew of this production do their best to resuscitate and revitalize Ghost. Direction and choreography by Linda Fortunato does well to utilize the large thrust space; the modern-industrial set, designed by Sarah Ross, promotes discovery and opportunity for director and cast alike — with sleek aesthetic value to boot. The production team further bolsters this production with immersive sound design by Michael J. Patrick, dynamic lighting design by Guy Rhodes, and subtle (and at choice moments, appropriately garish) costume design by Brenda Winstead. Precise and lyrically verbose music direction from William Underwood completes the carefully crafted environment of this production — Theatre at the Center is certainly not lacking in polished production design.

That is not to say that the production is without flaw. In particular, Fortunato’s choreography sometimes lacks the substance necessary to imbue the theatre space with life. While the space is used, the choreography often lacks impact or narrative significance. Specifically, cliché “contemporary ensemble number in New York” “More” covers the stage with moving bodies that lack specificity — a general facade of “business” pervades the atmosphere. Though the number does contain vital foreshadowing to the mystery of Sam’s murder, the ensemble campily paces in tight circles and perfect lines; at two buttons in the music, a cast member can be seen “taking a selfie” with no particular goal in mind. While the song itself is rather innocuously written, the staging lacks a necessary layer of depth that grounds the audience in some sort of theatrical reality — opportunities to lean into satire, sarcasm, or even genuine camp are forgone for a more (and less effective) neutral approach.

Fortunato’s direction is, however, extremely effective in regards to interpersonal relationships; her use of task and physical relationship is motivated and compelling in the vacuous darkness of the space. The pacing throughout is dead on: sarcastic banter between Sam and the psychic Oda Mae clips along with nary a break in laughter, and the tense showdowns between Sam and his enemies are wrought with passionate fear and anguish. Her approaches to supernatural effects are a stunning spectacle to watch as well, from door phases, to spectral manipulation of objects and people — even post-mortem out-of-body experiences!

Of course, direction and production design wouldn’t have anywhere to go without a stellar cast. Garrett Lutz is phenomenally grounded — he radiates energy with his scene partners, performing with incredible authenticity and heart. Alongside him is the powerful and stunningly funny Donica Lynn, with whom Lutz has devastating comedic chemistry — they are magic onstage together. Moreover, Lynn’s raw vocal prowess is bound to raise the spirits in the house night after night. Further filled out with heartfelt ensemble performances, and Courtney Mack’s sensitive portrayal of grieving Molly, the cast of Ghost breathes life into material better-left departed.

Ultimately, the very foundation of Ghost as a work of theater is unsteady; regardless, Linda Fortunato and the cast and crew of this production do their best to revive this material with open hearts and honed skill. The result is a romantic spectacle attempting to find its voice through a cascade of narrative problems and thematic inconsistencies.

Although this production is not transcendent by any means, it is doubtful that any other production could elevate such flawed material to a greater degree. Much like steamy spectral protagonist Sam, this production exists in limbo — between innovative, evocative storytelling, and saccharine camp. Theatre at the Center’s Ghost: the Musical is charming and heartwarming, if not a at times vapid — through not much fault of the production team. At the very least, Donica Lynn and Garrett Lutz alone provide a masterclass in hilariously contentious, dramatically refreshing character relationships. The heart of this cast is bound to leave smiles upturned and spirits lifted.

Recommended

Reviewed by Quinn Rigg

More information and tickets may be found at www.TheatreAtTheCenter.com

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