(4 / 5)

Ghost The Musical is based off the much-loved 90s movie of the same name, starring Patrick Swayze, Demi Moore and Whoopi Goldberg. The story follows Sam and Molly, a couple deeply in love, until their happiness is cut short when Sam is killed by a thug. Now trapped as a spirit, he discovers that Molly’s life is in danger and must enlist the help of a psychic to warn her before it’s too late.

Going in, I wasn’t very familiar with the story- I had heard of the movie but had never watched it- so I didn’t know what to expect. With my favourite musicals typically being heavily dance-based and fantastical, I wasn’t sure if this would be my thing. However, I was absolutely blown away- it was fantastic!

One of the most striking elements of this production was the clever and effective use of the set and staging. The set design was minimalistic yet immersive, with a permanent New York skyline backdrop, cutouts of buildings and rooms that descended, and movable props, which kept the scene transitions very quick and seamless. The iconic pottery wheel (if you know, you know!) was also a lovely touch, an understated nod to the original movie.

The lighting and sound played a crucial role in creating the show’s supernatural theme while also supporting the actors. When Sam (played by Josh St. Clair) died, a silhouette of the New York skyline appeared at the back, subtly reinforcing the spiritual element without the need to constantly remind the audience that he was a ghost. The outline was neon green but turned red when two of the villains met their fate. Combined with the actors being dragged away as they screamed in protest, this strongly implied they were being pulled into Hell, a small but effective detail that added an extra level of depth. Similarly, when Sam first passed, a rippling light effect washed over him, further enhancing that spiritual atmosphere. Sound effects were also well utilised, particularly in moments when Sam interacted with the physical world, like eerie noises accompanying his attempts to open doors.

Another particularly clever moment was when Sam learned to manipulate objects from the subway ghost, crucial for the story later on. The way the sequence was staged completely immersed the audience, making us truly believe that he was moving things with his mind. A very powerful and emotional moment was when Molly (played by Rebekah Lowings) finally believes the psychic Oda Mae (played by Jacqui Dubois) that she is conversing with Sam. Earlier in the show, just before he is killed, a song explores how he struggled to say, ‘I love you’, instead replying with ‘ditto’. This small but significant word became the turning point of the story when Oda Mae repeated it to Molly, proving beyond doubt that Sam was there.  

The production excelled in building suspense and character depth, like hinting at Carl’s villainy long before it is outright revealed is impressive. His scenes and sections in songs were underscored by ominous, minor-key music and a heavy ensemble backing, subtly foreshadowing his role in the story without giving it away, and means that the audience can sense something is off about his character before the dramatic reveal, adding further tension.

The creative team made several smart choices that enhanced the actors’ performances. One of the most impressive aspects was how seamlessly the actors immersed the audience in the world of the show. The actors- particularly Oda Mae- did a fantastic job of pretending not to see Sam on stage, creating the believable divide between the living and the dead. However, what made the production even more effective was the use of lighting, sound and staging to reinforce the supernatural theme. Rather than relying solely on the actors to establish these elements, the technical aspects of the show immersed the audience in its ghostly world and allowed the performers to focus on their character work. The combination of all these elements made the production an outstandingly engaging and atmospheric one.

This musical is on a completely different scale from something like Wicked- if you’re looking for elaborate dance numbers, huge ensemble harmonies, and much fantasy, then this may not be for you. But if you just love a love story and the magic of live theatre, with a thrilling touch of the supernatural, Ghost the Musical is absolutely worth seeing. It’s playing at the Wales Millenium Centre until Saturday 8^th March- so go on, you know you want to!

https://www.wmc.org.uk/en/whats-on/2025/ghost-the-musical

(5 / 5)

As the lights dim and the first notes play, the audience is instantly pulled into a wave of energy and emotion. The room buzzes with anticipation, knowing this is more than a performance—it’s an experience. Hamilton isn’t just a musical, it’s a look at America’s evolving identity, its history, and legacy complexities.

The stage, simple yet full of movement, becomes a character itself. With purposeful choreography and smooth transitions, it reflects Hamilton’s fast-paced life and the revolution he sparked. As the cast moves with energy, the audience feels drawn in, no longer just watching history but experiencing the ambition, ideals, and struggles that built the nation.

Lin-Manuel Miranda breathes new life as a vibrant, modern story of Alexander Hamilton, a relatively overlooked Founding Father, crafting a narrative as bold and innovative as Hamilton himself. By blending hip-hop, R&B, and traditional Broadway, Miranda mixes history with a modern twist, creating an energetic retelling of America’s origins that feels both relevant and engaging, allowing audiences to connect with the story. Its true brilliance shines through its diverse cast, portraying America’s founders—a powerful reminder that history belongs to everyone. The lyrics are sharp, clever, and deeply emotional. Songs like “My Shot” and “The Room Where It Happens” delve into ambition and power, while “Burn” and “It’s Quiet Uptown” deliver raw, heart-wrenching moments.

The show is a feast for the eyes and the heart. The rotating stage adds depth and symbolism, representing the continuous flow and ever-changing perspectives of history. The performances grab you and don’t let go, Sam Oladieinde’s Burr keeps us hooked, making us question if he’s the villain or just tragically human.

Miranda’s Hamilton is a force of nature, leaving us breathless with his unstoppable energy. Billy Nevers steals every scene, switching from the flashy Jefferson to the lively Lafayette with effortless charm. King George III pops in now and then, stealing the show, with Daniel Boys nailing it in gloriously over-the-top camp style.

It’s rare to see a hip-hop musical with impressive choreography, rap battles, and locking, especially one done so well that it makes you want to get up and dance. It was great seeing Cardiff’s, Levi Tyrell Johnson performing in the ensemble.

Shaq Taylor was exceptional as Hamilton, bringing both strength and moments of humour to the role. His commanding stage presence was undeniable, but it never overshadowed the equally impressive cast. The audience’s applause and whoops of delight after every song reflected the high energy and joy the cast brought, showcasing their talent and strong camaraderie. Maya Britto’s portrayal of Eliza was powerful and emotional, especially in “Burn,” where she conveyed deep anger and betrayal. In the reprise of “Stay Alive,” she perfectly captured the heart-wrenching grief of a parent losing a child, leaving the audience profoundly moved.

The real magic of Hamilton goes beyond the performances and music—it’s how it makes us feel deeply connected to the characters and their struggles. We see our own ambitions in Hamilton’s relentless drive, our regrets in Burr’s hesitation, and our grief in Eliza’s heartache.

Hamilton is one of the best musicals I have ever seen. If you haven’t already got tickets run to get them now, you’ll be swept away!

(4 / 5)

Rocky Horror show is certainly a cult hit by this point, clearly evidenced by the masses of Franks, Riff Raffs and more in the New Theatre foyer area, along with an abundance of corsets, high heels and golden top hats. It’s always an experience attending a production of this show, even from the moment of stepping into the theatre! But after all these years, does the classic show still deserve its prominent status?

The show looks back to its classic roots but with a fresh new face, courtesy of direction from Christoper Luscombe and excellent synchronicity from choreographer, Nathan M Wright. The Phantoms and cast are slick, utilising the full stage and, surrounding, but never encroaching upon the main action. There is a freshness and a joy to the movements which I think I’ve missed in other productions of this show. The contrast between the bright, popping colours of the first scenes and the later darker, yet still fabulous interior of the castle is expertly designed by Hugh Durrant. The whole set is surrounded with a twisting film reel and the musicians sit above it all, looking down upon the action. Lighting makes the stage truly pop with disco balls, lasers, projections directly onto the stage and more, another layer to the craziness of the plot, designed by Nick Richings.

The music is iconic of course and is lavishly brought to life here by a talented Josh Sood and his band, Ollie Boorman (drums), Dan Humphreys (bass guitar), Liam Spencer-Smith (guitars) and Dave Webb (reeds). Having them onstage rather than below in a pit really makes them a part of the action and ensures that the music envelops the audience in those well-known musical numbers. The songs are performed with panache by the band; the stand outs are Sweet Tranvestite and, of course, the incredible, Time Warp, which had multiple members of the audience up on their feet and dancing along.

What truly made this show for me was the outstanding cast; each and every one of them gives us a truly joyous performance; the singing and comic timing is particularly good. Lauren Chia and Connor Carson are lovable and clueless as our young lovebirds, Janet and Brad; I particularly enjoyed their rendition of Once in a While, beautifully harmonised, a tender moment in a somewhat manic and crazy show. Job Greuter, Natasha Hoeberigs and Jayne-Lee Zanoncelli are the life and soul of the party as Riff Raff, Magenta and Columbia. As the leading force behind Time Warp, they literally blow the roof off the New Theatre; the vocals and performances here are exceptional. I was also really impressed by Greuter’s vocal performance in Over at the Frankenstein Place. Edward Bullingham also delivers an excellent version of Hot Patootie, bursting onto the stage as Eddie and returning later as Dr Scott.

The Narrator must be an intimidating role to step into in this show, he is, after all, the victim of most of the heckling from the audience. However, Nathan Caton truly utilises his comic chops here, gives the audience as good (and sometimes as rude and crude!) as he gets, and his responses are so fast and witty that the hecklers need ice for his burns by the end of the show! He is effortlessly funny, bang up to date and owns the stage whenever he steps onto it. Frank N Furter is performed on 4^th and 5^th November by Stephen Webb, a veteran of the show who has played the role on multiple occasions. From the moment the doors open, and he appears, draped in his cape to perform Sweet Transvestite, to the final curtain call, Webb is a brilliant, loveable yet devilish Frank, strutting across the stage with so much poise, a twinkle in his eye and a phenomenal voice. His performance of I’m Going Home was such a poignant moment, proving he can show us the softer, more tender side of Frank too.

The show is truly a rollicking, fast paced, no holds barred production, and the finale has the audience up and dancing as one. The plot is insane, but it doesn’t matter; for two hours the audience laugh, heckle, clap, dance and even sing along in this bonkers yet full of heart production. Whether you’re a long-time attendee of the show or its your first time seeing it, there’s something for everyone here, but just make sure to leave your inhibitions well and truly at home!

(4 / 5)

The tale of the Witches of Oz flies back in the Wales Millennium Centre; the tale of what happened before Dorothy dropped into the land of Oz has been captivating audiences on Broadway since 2003 and in London since 2006. The West End’s 10th longest running musical has also toured extensively and is truly a well-loved musical if the sales of the five-week run at the Centre are anything to go by!

The opening number, ‘No One Mourns the Wicked’ is a familiar point from the classic, Wizard of Oz. The Wicked Witch of the West is dead, and the citizens of Oz are celebrating that the ‘enemy of all of us here in Oz’ is finally gone. I love the opening of the show, the flying monkeys winding open the Time Dragon Clock, the Time Dragon himself breathing smoke, eyes glowing, flaps his wings above the stage. The ensemble is electric, and the harmonies are tight. Sarah O’Connor, arriving by bubble (of course), soars in this number; her vocals and comic timing are excellent.

From there we move back to the first meeting of Elphaba and Galinda back in their university days at Shiz. Laura Pick sets a great tone as Elphaba, spiky and defensive with a distinct element of dorkiness; her characterisation here was a breath of fresh air into a character that I’ve seen portrayed on many occasions. Laura soars in ‘The Wizard and I,’ moving effortlessly from on guard Elphaba to one full of hope and dreams. I thoroughly enjoyed the way she explored her various sides; moving from this into a hilarious rendition of ‘What is This Feeling?’ with Sarah O’Connor.

The cast and ensemble bring pure joy to the Donald Gordon Theatre; Carl Man upsetting the calm of university life in ‘Dancing Through Life,’ Donna Berlin playing a delightfully loveable yet evil Morrible, Jed Berry is an adorable Boq, besotted with Galinda, Nessarose is sweet but with a simmering anger played ably by Megan Gardiner and Simeon Truby is truly the ‘goat’ of the piece, multi-roling as the bumbling but heartfelt Dr Dillamond and then hamming it up as the ‘wonderful’ Wizard of Oz. The emphasis on characterisation was appreciated. This is probably the most in depth I’ve seen the characters explored and it was satisfying to see them brought to life with such precision and thought.

It’s inevitable that a touring production is slimmed down from a London, resident production. However, all the key elements are here, and it was hard to find too much that was different from the production in the West End. I loved that the Time Dragon is proudly positioned above the stage; his eyes glowing red and his wings flapping at the opening but also at key moments in the show. Having read (and adored) the book, it’s lovely to see this element brought across from the page to the stage. The key moments from London are all recreated here, including the iconic flying in ‘Defying Gravity,’ Laura rising through the air to belt out those last notes of the iconic song.

All in all, this is a thrillifying production of the classic musical with a talented cast, staging, choreography, and direction (both acting and musical!). The show is one that can be enjoyed by all ages, something different being discovered by each audience member no matter how old or young. It was lovely to see a new interpretation of the show to prove that although it’s been wowing audiences since 2003, there is no sign of this musical going anywhere.

Wicked is a show that truly defies gravity, so make sure you dance through life down to Cardiff Bay and see Wicked before it flies out of town ‘for good’ on 23rd November!