‘Ghosts’ review
‘Enjoyment is fervent, humour is ever-present, and emotion is raw’
As an avid Ghosts lover, my expectations for Ooook! Productions' latest sitcom (based on the TV series sharing its name) came from a position of high standard. The truth is, I had not expected that the Assembly Rooms Theatre was to be transformed into a faultless imitation of the Button House in its charm, exhibition and character. The production of this show, with Rory Collins as PM and Lucy Smith as APM, (and produced by Nat Pryke and Sarah Kelly, assisted by Zara Hossain), is executed to a standard beyond any I could have previously imagined, owed entirely to the creative and production teams, and cast.
Written by Maariya Khalid (and assisted by Pearl D’souza, who jointly stars as Alison), Ghosts traces the life of couple Alison and Mike (Mwambu Haimbe), following their inheritance of a haunted mansion. The show draws focus to the relationships that unfold between characters, drawing uniquely pointed comparisons throughout to weave an illustrious telling of love and acceptance (dead or alive!). The sitcom directly rehashes content from the TV series, at points creating an odd pacing to the show, particularly in its first act. However, this pacing seemingly acts to lay out an exposition which later envelops the more critical themes and therefore can be understood. Altogether, the stitching of the various scenes from the TV series is executed with great precision to convey a coherent and heartening plot, which the writers must be commended for.
The set (designed by Carrie Cheung, assisted by Matilda Knowles) is unlike any I have seen in Durham Student Theatre before; the three-tiered layered staging amplifies the innate immenseness of the Button House. Every ounce of its colossal solitude, in parallel with its homely feel, ebbs through the theatre before the performance has even begun. The production strikes a balance between minimalism and cluttering of the stage with its innovative set pieces, a particular favourite being the car that is converted into shrubbery. The lighting (designed by Leyla Aysan, and shadowed by Eva Ryan) enhanced the much-felt immersion, utilising a great range of spotlights and layering. Particular effects, such as subtle flickering when the ghosts manipulate objects, add terrific attention to detail that mystifies the performance. Although colour variety is limited beyond the final disco number, the whitewash works well to complement the eerie nature of the mansion.
All aspects of direction (by Charlotte Walton, assisted by Emma Henderson and Harry Threapleton) are implemented seamlessly. The show incorporates appropriate blocking, complementing the hilarity brought on through the alive/dead character dichotomy. A cohesive performance is ensured, dishing out whirlpools of comedic moments unavoidable to the cackling audience. Overall, the collaboration of these performers crafts a show that radiates among the pool of theatre, drawing naturally on aspects of both humour and touching moments. As the main couple, D’souza and Haimbe stun with their chemistry and effortless wit, driving a balanced relationship. D’souza bristles with the calm of Alison amongst the chaos, whilst Haimbe ties this together with his faultless charisma and energy, creating an authentic dynamic and willingly engaging the audience in their lives.
Have a favourite ghost? Don’t be spooked – their unique individuality is absolutely retained… and amplified! The costumes (designed by Rosie Crompton and Charlotte Blair) stay true to their original charm, accurately reflecting the time periods of the respective characters. Emilia Lewis emulates the Edwardian mannerisms of Fanny to perfection, a sell-out in her facial expressions whilst modulating Fanny’s regularly horrified emotion. Lewis performs Fanny’s arc through the show faultlessly and is a great joy to watch. Thea Stedman Jones excels as Robin, a marker of exceptional casting. From her gestures, to her speech, to her comedy: she has it all and cannot be missed in this role. Horatio Holloway creates a remarkably fresh portrayal of Julian, taking his already original absurdity and ensuring its amplification. Holloway’s performance is incredibly entertaining, namely in his cocky interactions with the other characters onstage.
Iphis Critchlow, playing the Captain, embodies all that is endearing about this role. Their ability to fluctuate between comedic lines and moments of emotional poignancy is nothing short of outstanding. Grace Heron, playing Pat, envelops the much-loved portrayal of the character and is a testament to Jim Howick’s original performance – the bourbon-drinking scene is a particular highlight, showcasing Heron’s impeccable capabilities as a comedic performer. Moritz Afridi’s embodiment of my personal favourite, Thomas, is sensational – he brings out the love-struck, pathetic spirit that drives Thomas’ character, and his sophisticated mannerisms that coincide with this are ever-present and a joy to see. Emma Rowson’s Kitty and Hannah Sheppard’s Mary – what is not to love? Their characterisations are incredibly endearing, and their particular interactions together make these performances beyond adorable. At the head of the table, the subtlety of Harry Threapleton’s (Humphrey) acting choices absolutely completes this theatrical marvel. I had been curious as to how they might incorporate the headless character, which is done masterfully to adhere to the humour of the show itself. The accompaniment of Elizabeth Lea (Barclay), Nell Hickson (Sam) and Khaliun Mark (Clare) were phenomenal in their own respects: Hickson and Mark made for a tremendously hilarious duo, whilst Lea was exceptional across their many roles.
Ghosts is a fantastic way to wind down from post-exam stress – whether you’re a hardcore lover of the original TV series or know nothing about it whatsoever, this is a show for everyone. Enjoyment is fervent, humour is ever-present, and emotion is raw: it would be a shame to miss your chance at embarking on this passage alongside a team that has such talent and passion for their craft!
By Arthur Hamilton.