The next interview in our stagey chat series is with Obioma Ugoala. Obioma has most recently been part of The Ghost and Mrs Muir workshop as Captain Gregg. As well as this, you may have seen him in hit West End shows such as Hamilton and Frozen.

What first attracted you to the role of Captain Gregg in The Ghost and Mrs. Muir, and how did you connect with the character on a personal level?

At the heart of this story is a man who feels that he was robbed of the life he had planned for himself meeting a woman who learns how to write her own story after the life that had been scripted for her is suddenly upturned. After Captain Gregg’s death, people tell stories about his life. We’ve all had people tell stories about us that don’t align with what we think of ourselves. I’ve also become increasingly aware that time isn’t promised to any of us and I love our captain’s journey with redefining what was and is important in his life. Don’t we all just want fellow travellers on the messy, tumultuous journey through life? 

This musical explores themes of grief, love, and liberation—how do you approach portraying such emotionally layered material within a romantic and supernatural context?

There’s a Jamie Anderson quote “Grief is just love with nowhere to go.” I think that’s our captain. Sure he’s a ghost and that’s supernatural, but actually I think it’s that there’s a lot of living and a lot of loving that he’s still to do and maybe that’s why he’s still with us. I think that’s one of the most natural things in the world. Whether it’s a loved one we miss or an ambition unfulfilled, we’ve all had passions, desires and dreams and I think that’s what audiences will relate to. 

You’ve originated major roles in Hamilton and Frozen in the West End. What was this experience like?

I loved those shows but there’s something really special about being in the room with these creatives at such an early part of the process. We’re constantly refining and honing so that we can bring this story to new audiences and that’s a real privilege to be a part of. 

What’s it been like working alongside Laura Pitt-Pulford in this unique and intimate story about love that transcends life and death?

I think anyone who has heard Laura sing knows how easy it is to fall in love with her voice, let alone the incredible acting that comes with it. We’ve such a laugh in rehearsals that it’s been easy to create the connection between our ghost and Mrs Muir. 

How has the workshop process so far shaped your understanding or portrayal of Captain Gregg?

I love digging into what motivates a character. When we meet Captain Gregg we think we know what that is. But at a certain point, as with all good romances, that goes slightly out the window and finding the rhythm of where those moments land in a way that is most satisfying for an audience has been really enjoyable. 

With music by Carmel Dean, what can audiences expect in terms of musical style and emotional resonance in the songs you’ll be performing?

Ha! Carmel is a genius. I’ve said it before and I’ll say it again. Genius. Alongside soaring melodies and heartbreaking harmonies there’s a real joy and wit to her writing that is such fun across a broad range of genres that I can’t wait for more audiences to hear. 

What excites you most about returning for this second workshop, and how do you see the production evolving ahead of its full staging in 2026?

We only had a couple of days on the first workshop to learn the music and piece parts of the show together whereas now we’ve been really able to dig into the text and find what makes our characters tick. Mrs. Muir goes on such a journey over decades and it’ll be really fun to stage that. Still campaigning for Captain Gregg’s 12 minute tap solo, but we’ll see. 

You’ve performed in both large-scale commercial musicals and more intimate productions—where does The Ghost and Mrs. Muir sit in your artistic journey?

I wish I could pitch where exactly this would sit. It feels both epic and intimate, sweeping yet tender as all good stories do. I’m excited to see where we go from here. 

Captain Gregg is both romantic and ghostly—how do you strike a balance between his spectral presence and his very human emotional arc?

I’m not sure you can play a ghost in the same way you can’t play a dad or a son. You can only treat someone else as if they are your child or parent. The same goes for Captain Gregg. It’s about finding his humanity amidst the otherworldly, the relatable in the supernatural. 

What do you hope modern audiences take away from this story, especially in a world still navigating themes of loss, loneliness, and connection?

Hopefully our audiences are encouraged to live boldly, to love fiercely and to know that freedom to do those things is something we must pursue fervently. If you’re not telling your own story, someone else will tell it for you.

You can keep up to date with the journey of The Ghost and Mrs Muir, here.