I think that where the score works, it soars. There are some real gems in the music in this show, but that is not to say that it does not have it faults as well.
In particular, I find all the Sam/Molly duets, Molly's ballads and the end of Act I number "Suspend My Disbelief/I Had A Life" and Act II opener "Rain/Hold On" sitting in the good category.
The gospel and soulful Oda Mae Brown numbers are decent, but I wouldn't exactly be going around and praising it as much as I would the numbers mentioned above.
Where the score fails however, is the rap song "Focus" in Act II and the original song after Sam's death "Ball of Wax" which has since been replaced with a better but still not good song "Let Go".
A lot of posters on here have seemed to mention their dislike of "Life Turns On A Dime", however I actually found that song to be quite enjoyable. It's nothing near as good as "With You" or "Three Little Words" but certainly not as atrocious as "Focus".
I think that the score is taken to a whole other level though thanks to the powerful performances in the show. Seeing Caissie Levy and Richard Fleeshman perform the music live on stage and feeling their emotional intensity really adds something special to all the numbers in the show.
I'm 100% with you. We seem to enjoy the same numbers. I find "Suspend My Disbelief" and "Rain/Hold On" the best moments in the show. I put the damned things on my iPhone and listen walking around. So I'd be a hypocrite to say anything too negative about the score. As you note, when it's effective, it is unstoppable. I wish the lyrics weren't so tediously generic. Far too many ruminations on it "being over" and then "not over" and then "not over YET" for my taste. And Oda Mae's songs are boilerplate, and sound like place-holders for better numbers yet composed. It would've taken guts to give her one number that's more of a piece with the show, even a bit of techno-inflected melody for her, so that she could feel connected. Instead, she drags PURLIE, COLOR PURPLE and SISTER ACT (and countless others) in with her only because she's The African-American. If they dared give her a quiet number, or, say a reprise of someone else's -- seriously, one verse of "Here Right Now" about HER -- she'd feel part of the world of the show. Instead, she's the sassy black comic relief. Many will disagree, but it's how I feel. Just because she "sings black" doesn't make her voice a refreshing contrast to the others.
Just got home from the show and I absolutely LOVED it. Everything about it. I must see it again!
I have never before and may never again see a stage utilized in such an astounding way. The special effects, sets, and projections were beyond anything I can imagine. (those who are already thinking I'm a shill know better).
I loved the score and tapped my foot and moved around for almost every number.
I'm now in love with Caissie Levy. Never saw her before but can this girl sing!!!!! And she's a fine actor. I was in the 4th row orchestra and could see every nuance. Wasn't too fond of Fleeshman, though, but that's just subjective. And Miss Randolph stole the show!
the show moved along at a brisk pace, kept my interest throughout, and I smiled all night from enjoying myself. No glitches.
Oh, and the special effects. OMG. I SAW the man pass through a door before my very eyes in the 4th row. The things they accomplished on that stage could put Kreskin to shame.
I do sound like a shill, but I like to gush when I really love something.
@Jane2---What is the song that Carl sings in Act II to Molly called? Is it listed in your Playbill now??
And the cast recording is the Original London Cast, which also includes Caissie Levy and Richard Fleeshman! The difference is the characters of Oda Mae Brown, Carl and obviously the ensemble in the recording but the two leads are the same.
Oh, that's interesting. There was talk by other posters on here last week that "Life Turns On A Dime" has been cut and that Carl now sings a song that is more of a "Here Right Now (Reprise)" in Act II instead.
And great to hear that the house was packed! Here's to hoping the show will continue to do well with good word-of-mouth!
Carl's Act II song is still listed in the playbill as "Life Turns On A Dime", and those words are still a lyric in the new song although it seems silly to me if that's still what the song is called as Carl sings the words "Here Right Now" much more. It's a completely different song regardless of whether they've changed the title in the Playbill or not.
I got a question for you and others that have posted. My family and I will be in London (May) and catching a few shows. We thought we would like to see "Ghost" while we were there. We will be in NYC in July and that made me wonder whether we should see "Ghost" in London or Broadway. Which one would you think would be better? Thanks
I'd say see the show here on Broadway. You may have Sharon D. Clarke as Oda Mae Brown in the West End Production, but I wouldn't miss seeing Caissie Levy and Richard Fleeshman in the show on Broadway, who originated the roles of Molly and Sam in the London Production.
Bumping this thread and also adding remarks about the ensemble which I left out of my earlier thread in which I raved about everything.
I was close enough to see some bored looks on the faces of the ensemble. Also, they seemed to be half phoning it in. After seeing the marvelous energetic ensemble in Leap of Faith, I couldn't help but be disappointed in Ghost's ensemble. Don't let that keep you from going to the show though!
Oh, and I was also close enough to see that I didn't think Fleeshman (male lead) was good looking and that put a slight damper on the story too.
When I saw the show early on during the previews, the ensemble needed to tighten up big time. Were they a lot more in sync when you saw the show Jane2?
I still stand by what I said before that to this date, one of the best and tightest ensembles I've seen is last summer's CATCH ME IF YOU CAN.
The ensemble/dancers may have been counting because the choreography is being tweaked, it certainly needed to be tweaked during the preview I saw, some of the strangest staging of dance numbers I have ever seen.
The show is an interesting premise, but as is the case with NICE WORK IF YOU CAN GET IT, the leads seemed the weakest link in the production, at least from this viewer.
I agree! Very strange choreography, but a very tight-knit ensemble.
Also, not trying to be a solicitor or anything but I'm doing a fundraiser for BC/EFA and the American Cancer Association by selling a autographed package of tissues from Ghost. (Signed by all 4 leads)
Have they changed the beginning yet? I just don't like the first scene and found it a boring way to start the show, especially after the opening projection.
The leads in GHOST seemed very generic to me, although the actors were trying to be realistic in their relationship, I just didn't believe that they were in a sexy, passionate relationship but I see that some people believed them, so it's a matter of what works for some folks. So much of their dialogue had falling inflections, the energy in the scenes felt flat and small. The young potter spent a lot of time looking at the floor with one hand on her hip and the banker yelled alot so it was hard for me to get too invested in them. I loved the psychic, the show came alive when she was one stage.
And NICE WORK IF YOU CAN GET had actors who were more accomplished but seemed miscast. Matthew Broderick as a sexy playboy seemed too dull and disengaged and Kelli Ohare acts tough but sings her songs as a totally different fragile character. And there is absolutely no chemistry between them, they seem like to cousins at a family reunion. Pretty songs though.
"Oh, and I was also close enough to see that I didn't think Fleeshman (male lead) was good looking and that put a slight damper on the story too"
Are you sure you weren't watching an understudy or something? I was sitting in the 3rd row when i saw it, and i couldn't look at anyone else whenever he was onstage. He may well be the most good-looking guy i've ever seen - gasp-inducingly handsome.
Different strokes, perhaps, but i still think my understudy theory might perhaps apply here?
I thought he was gorgeous. And that shirt they have him wearing that lets you see that beautiful part of his chest. DELICIOUS. I thoroughly enjoyed the show. And Richard Fleeshman is my new obsession.
I sat in the front row orchestra tonight via the ticket lottery. NOT a great location to appreciate all the special effects? The city panoramas, disappearing characters, lighting visuals, screens, scrims, etc. were kinda difficult to put into a coherent context. Unless you're fascinated by actually seeing the nuts and bolts of how theater "magic" is created, I would not reccomend these seats despite the low price. Rear mezz would have been much better....live and learn.
I sat in the front row orchestra tonight via the ticket lottery. NOT a great location to appreciate all the special effects? The city panoramas, disappearing characters, lighting visuals, screens, scrims, etc. were kinda difficult to put into a coherent context. Unless you're fascinated by actually seeing the nuts and bolts of how theater "magic" is created, I would not reccomend these seats despite the low price. Rear mezz would have been much better....live and learn.
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Posted: 4/13/12 at 09:33pm