Ghost Light is a 2019 comedy about a disgruntled summer-stock actor who contemptuously disregards the superstition surrounding Shakespeare’s tragedy, Macbeth.
If there was ever a writer more wrung dry for material it’s surely playwright William Shakespeare, whose body of plays, sonnets, and whatnots have becomes source to an almost uncountable number of adaptations since. There’s a host of movies out there you probably don’t even know were ‘inspired’ by The Bard’s efforts. Now comes co-writer and director John Stimpson‘s dark comedy Ghost Light, taking jabs at summer stock theater, hack actors, and of course, the most well-known aspect of Shakespeare’s masterpiece Macbeth, the ghosts that curse it.
Traveling to the pastoral countryside, a troupe of actors arrive by bus to a converted barn, now an intimate theater, looking to put on the aforementioned play. They are led by Henry Asquith (Roger Bart), who brings along a wiley bunch, including Thomas Ingram (Tom Riley), Alex Pankhurst (Cary Elwes), Madeline Styne (Carol Kane), and Elliot Wadsworth (Sten Tom) to name a few. Right away, there is tension of course, egos butting heads and well, the release of an ancient horror when the name Macbeth is spoken on stage without being part of the play. No harm no foul except when things begin to go afoul. And afoul they do. But it is real?
Naturally, this becomes a comedy of errors or sorts where our host of eccentric characters find themselves lodged in a large estate with secrets and lies between them bubbling to the surface. Some are having affairs with others, some are not who they seem, and all are competitive with each other. Then there’s the ghosts, who have come to play and play dirty. And lest we forget the beautiful hitchhiker Juliet (Danielle Campbell) who serendipitously arrives and causes some waves.
Ghost Light refers to a stage light that must be lit while no one is on stage, a superstition that kicks the movie off. From there, it clings to its stage play slapstick roots, with plenty of fun back and forths that combine the theatrical flares it intends with more than enough barbs strung at horror flicks along the way. Remember Noises Off, that 1992 comedy with another ensemble cast? Probably not, but either way, it’s in the same vein and works about as well, landing more hits than misses with all in front of the camera more than committed to the show. That’s especially is true of Elwes, who embraces the lunacy with a fiery approach, pulling off the ‘bad actor’ bit with great effect, stealing every moment he’s on screen.
The rest follow suit as well, with Kane always reliable as a kooky goof and Bart pulling off the exasperated director with exactly what you expect. He’s fun to watch. He sets the pace in fact and while the film is not a big budget comedy is still a good time, giving those looking for something a little off the beaten path something sweet to chew on. Well worth a look, Shakespeare and theater fans or not, this is often a clever and giggle-inspiring romp.