REVIEW: Ghost Light by Molly O’Gorman at The Hope Theatre 11-29 July

‘An incredibly impressive outing in a difficult form to get right’ ★★★★

 I wasn’t sure what to expect of Molly O’Gorman’s new musical, Ghost Light. The Hope Theatre’s website describes it as several things at once: “a new musical about child stardom and the treatment of women and girls in the public eye, shining a harsh light on addiction and abuse,” and “also a story of love that survives, no matter the odds.” After watching this confident, polished show, I would suggest that, though it touches on all these themes of abuse, addiction, and the media treatment of women, it is really about the question of how to find your place in the world, and how to make your peace with the inevitable sacrifices that stem from this choice.

Despite its excellent performances and fantastic music, the musical itself seems at times not quite to know what trajectory it is on. Like its main character Charley (spelled this way in the online description but as “Charlie” in the cast list), who, suddenly thrown back into the world of showbiz, begins to doubt her decision to leave the limelight, Ghost Light seems at times uncertain about whether to look to the past or future, to praise normalcy or the pursuit of fame. In this way, Ghost Light fits neatly among existing musicals that showcase the pleasures of the stage while warning of its perils. Gypsy is the immediate comparison, but some of the songs reminded me of specific numbers from White Christmas and Follies. I think part of what Ghost Light is doing is knowing anachronism; it feels like a reflection on the musical as a form, presenting a version of the theatrical world detached from contemporary realities. Though the characters use cell phones, and are written about in online publications, the shows they put on feel more like vaudeville than anything recognizable in today’s media landscape (though, as an American, I might be missing a key British referent here). This makes it feel like it’s more about the history of its own form than about the many themes it touches on.

  O’Gorman’s book and lyrics are often incisive and clever but some scenes feel like they go on a bit too long, particularly those between Charley and her sister’s husband and manager David. And sometimes there isn’t much subtext – though this may be a choice born of the characters' desires to finally air their grievances. But the songs are fantastic, and I would very happily listen to a cast album. I do wonder whether there’s a slightly tighter, meaner musical beneath the shell of this one. I felt at times the ghost of yet another influence, A Chorus Line, in which dancers are pitted against one another under the gaze of a manipulative director. Though her moments of sisterly affection were moving, it was the moments in which Charley’s desire for the spotlight seemed to conspire with her fear for her sister to justify her own conflicted yearnings for the stage that made her feel like a more complex character. 

The black box theatre is used intriguingly, standing for both the stage and the sisters’ backstage dressing room. Like another influence, Cabaret, the songs that are sung onstage reflect on, refract, and stand as twisted mirrors of what is really happening offstage (though in this case the focus is almost exclusively on the relationships of the characters, not larger societal developments). Ellie Councell’s choreography and Elena Yianni’s direction elevated the production and made it feel, even in a tiny black box theatre, big and lush – impressive for a three-hander. Annie Thorpe and Shannon Davidson’s brilliant performances were matched by their beautiful voices. Simon Mulligan as David was really good as well, but I would have liked to understand his character a little more. He seemed to function at times mostly to advance the plot by tempting Charley and thwarting Kat, and never fully showed his hand. Although Charley and Kat were better developed, the second act was filled with somewhat unmotivated changes in all the characters’ decisions, so that it felt at times like key connective tissue was missing. I think, especially if these problems are resolved, this could play successfully at a larger venue. It’s an incredibly impressive outing in a difficult form to get right, and it has something interesting to say about that form.

Ghost Light, Hope Theatre, 11-29 July, writer Molly O'Gorman, director Elena Yianni

Box Office https://www.thehopetheatre.com/productions/ghost-light/

Review Clio Doyle is a playwright and university lecturer.