"Granted, I haven't seen it yet, but the set everyone seems to be talking about is NICE WORK's. GHOST's set isn't so much a set as projections and panels of LED lights"
While, from the videos I do think the Madonna tour design of Ghost does look a bit overwhelming, it also is what in modern speak a set should be. If the design awards only go to physical sets, the category is going to get smaller and smaller.
Critics wi,l take into account set designs crashing etc. I remember the opening night of My Fair Lady in London, we were waiting close to an hour during a tech hitch, but the show got raves.
The trouble with Ghost is it relies on the set and the graphics to bring the emotion almost entirely. The theatricality then is almost fake which thankfully Broadeay has picked up on. I share those opinion on over blown technical set designs, I kind of feel cheated during a live production to have everything slapped in my face literally, why not tell the story...
I remember when Wicked got mixed to negative reviews... and Les Miserables was panned, and.
Maybe the yanks are just still tired of Brits putting big shows in to NYC? haha.
The score for GHOST, on the whole, is pretty terrible - but one can't deny it's a story that NORMAL people will enjoy seeing (not critics). It really annoyed me how all critics pointed out that a set broke in a preview... quite unprofessional of the critics.
I agree that Sam is a pretty dull character before he dies and the audience doesn't fall in love with him the same way Molly does - but the piece is still an exciting, and in some ways visually groundbreaking, piece of visceral theatre. The illusions are the best you'll ever see on stage in the East Coast; lighting and sound design are beautiful and the LED technology is extremely well created.
Still - I doubt the creative team really are bothered... they're going to throw MATILDA on Broadway next...
Nick Hutson
Co-Presenter/Producer
MusicalTalk - The UK's Musical Theatre Podcast
http://www.musicaltalk.co.uk
Of course they care....there's a lot of money involved here. They can only say they don't care if their ticket sales are already strong and continue to be so.
I doubt critics could care less about who puts up the show - Brits, Americans or Yemenites. A good show, is a good show.
I have no problem with the mention of the set malfunction -- they were invited to a show that had not worked out all the kinks -- why isn't it food for fodder? I don't think any of them made a huge issue about it or based their judgement on that moment alone. If they had enjoyed the show more, it would have been mentioned less.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
It's not the creative team that care about the monetary side of things, though, aside from royalty payments. Ghost is all but forgotten in London in terms of the sterling work the creative team went on to do for Matilda.
It's Colin Ingram, the producer (at least I assume he's producing it in the States?), who's got more to worry about than anything.
Ghost has an ambitious international roll-out planned before the show is even really proven as a hit - the Dutch production opens later this year (HOW it's going to make any money in Utrecht I have no idea unless it's redesigned) and the Australian production has previously been mentioned. There's a lot riding on the success of this production in particular.
@bwayphreak234 really ??? what planet are you on ! American Idiot deserved the tony for best musical best costumes but sadly not many noms for that seasons best musical. The tvs the lighting the projections were amazing god bless christine jones for producing a perfect set for the musical. I loved how amazing it was and it was unique. The adams family looked so old fashioned.
Bottom line. When you make a musical out of a movie....especially a beloved hit movie like Ghost, Producers, Hairspray, Color Purple.. it better be as good and preferably add something that the movie didn't have.
In the case of Producers and Hairspray, the creative team succeeded. The music,performances, choreography, the set (who can forget Tracy upright in her bed for the opening number or Edna coming out of a can of Hairspray) the lighting was spot on and brought joy laughter and amazement to the audience.
The Color Purple and Ghost bring another kind of amazement. An amazement equaling WTF??
So the subject is Ghost. The songs are beyond awful. Some of the critics called then pleasant but bland. To me that is kind Why are Eurythmics and Cyndi Lauper and whatever awful Rock Group wrote Spiderman stay out of musicals? Go back to Party City where you belong!
The performers. Cassie Levy was generic and bland like the music. Richard Fleeshman was humpy but saddled with generic bland music. Oda Mae, nicely reinvented from Whoopi by Ms. Randolph was a delight. Again, her musical numbers could have been better.
If you can't improve on the movie.... just don't make the musical. It's as simple as that.
And what did Ghost the musical try to do? Make it like the movie with cinema projections. Add horrific music to interrupt the material. And some Magic Tricks.
But there are a lot of people who are happy to watch something like Ghost, an awkwardly adapted movie that they like, with some irrelevant songs shoved in, a few high/loud voices, lots of lights, and some interesting special effects (not new special effects, though: these effects have been in use by magicians and theme parks for more than 20 years).
This is the audience being catered to by creators and presenters of bland pedestrian fare like Shrek, 9 to 5, Singin' in the Rain, Legally Blonde, etc., etc., etc.
To the fans of that kind of thing - you should try to understand that many of us loathe the transformation of Broadway from a place for fascinating & thought-provoking theatre to a theme park of mindless & two-dimensional amusement; if shows like Ghost become the norm, more interesting fare like Scottsboro Boys, A Catered Affair, The Light in the Piazza, Grey Gardens, etc., may vanish completely.
For the record, Michael Musto is not the Village Voice theater critic, Michael Feingold is. Musto is a blogger and lifestyle columnist. I don't know why people keep posting his reviews as "the Village Voice review"
"Impossible is just a big word thrown around by small men who find it easier to live in the world they've been given than to explore the power they have to change it. Impossible is not a fact. It's an opinion. Impossible is not a declaration. It's a dare. Impossible is potential. Impossible is temporary. Impossible is nothing.”
~ Muhammad Ali
It appears to be beyond some peoples' ken that sophisticated persons can enjoy art such as Grey Gardens, Pillowman, The Sorrow and Pity, Eugene Atget, German Lieder AND Ghost. Those people are lucky that such a broad spectrum of work gives them so much pleasure.
Those who make value judgments about entire audiences for specific art sound like very limited thinkers.
How generous toward the hundreds of people who are earning their living in this particular piece of entertainment. To say nothing of the audiences who might disagree, some quite strongly. And many have. Such absolute and draconian proclamations would be unheard of in any other industry. ("Close that factory!" "Make that store disappear!") Artists love their art, yet they are hard workers, too and shows are their jobs. It's not always about one's personal hopes and dreams for the evolution of the musical theater, or deeply held beliefs about art. Art and commerce are necessary bedfellows, always have been and always will be. If a sustaining number of people fail to purchase tickets, the free market will determine GHOST's fate. But to wish an enormous number of people disappearing paychecks and shuttered places of employment because of aesthetic outrage is as sad as it is unkind.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
I would be completely blown away if Spiderman gets nominated for Best Musical, despite these reviews for Ghost and likely similar reviews for Leap of Faith. Maybe that last spot could possibly go to Bonnie & Clyde??
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.