The Phantom of the Opera is a dark, yet celebrated musical production that is performed world-wide—from famous theaters and opera houses to local high schools and community halls. Composer Andrew Lloyd Weber took the gothic story from Gaston Leroux’s book and gave it an emotional and oddly metered soundtrack, creating a critically acclaimed masterpiece. This review is based on half a dozen different professional performances.
Synopsis
In 1881, an educated and cultured, yet grossly deformed man skulks beneath the Paris opera house, successfully passing himself off as a rumored ghost to those above. He gives lessons to a young, talented singer and ensures her performance of lead roles, but finds himself falling for her in the process. His increasingly frequent dealings with the cast, crew, and management put his secret in danger, and his ghostly cover is eventually blown. Those who fear him take steps to eradicate this assumed threat, and a great hunt leads to the climax at the end of the show. (In the 2004 movie, the story takes place in 1870.)
Performers
Any fan cannot help but compare a current live performance with that of the original Phantom, Michael Crawford. Technically speaking, every actor I’ve seen as The Phantom has been top-notch, with one minor difference: A few, in the most basic terms, portrayed operatic, lonely nerds who merely wanted to be “mainstream,” while others focused more on the deformation, showing a monster-like character with less than perfect (yet still understandable) diction. Both personae were full of the angst, self-pity, rage, and love that make the Phantom’s existence so hellish.
All supporting actors get full credit for their portrayals as well. The protégé Christine is beautiful, talented, fearful, and slightly naïve; the new managers Andre and Firmin are impeccable businessmen, yet are baffled by the events surrounding them; the Soprano diva Carlotta is always dynamic, her over-the-top attitude and unintentional buffoonery making her a joy to watch; and the Viscount Raoul is the calming force both before and during the storm. Professionals played all characters, moving the story along and allowing the audience to feel their emotions and enjoy well-sung music.
Music
Weber enjoys a considerable and long-lived following, although many do not like his composition style. Phantom is one of his best-loved musicals, full of passionate melodies (and lyrics by Richard Stilgoe) that people can relate to, although the story takes place long ago. However, there are a few instances when many characters sing different lyrics and melodies at the same time, making it virtually impossible to understand all the words.
Despite this “layering” of musical lines, the rest of the show is excellent, as each tune relates to a particular character or situation. Phantom of the Opera, Angel of Music, and All I Ask of You give us a clue of the Phantom’s charisma and passion; Wishing You Were Somehow Here Again is Christine’s beautiful lament; and the show-stopping Masquerade, sung by most of the cast, sparkles like the famous chandelier.
Webber’s music cuts to the emotional core, and Stilgoe’s lyrics help explain various characters’ actions, and move the plot along well. Just be ready to feel slightly off-balance if you’re not used to odd-metered music.
Venues
Phantom performances continue at numerous opera houses worldwide. While each venue is likely top-notch and equipped to provide the fantastic details that bring magic to this show, personal experience demands the recommendation of the John F. Kennedy Center for the Performing Arts in Washington, D.C.
You know there are trap doors, clever lighting, and moving set pieces, but if you suspended your disbelief just enough, you can see a character disappear in a cloud of smoke, or watch a boat glide across a foggy underground lake. Off-stage voices and sounds are clear, and surround-sound microphone systems for the actors allow for unusual effects. Excellent views and plush seats round out an enjoyable, yet expensive outing.
The touring cast and orchestra, numbering a massive 52, is currently traveling across North America. The Cameron Mackintosh production company boasts improved costumes, choreography, sets, and more. Check to see if it’s coming to your city.
Permanent productions are in London, New York, and Budapest.
Conclusion
Rating: 5/5. Any professional stage production of Phantom of the Opera will certainly impress, if not amaze. It beats out all film re-makes, even the 2004 version, directed by Joel Schumacher and co-written by Webber and the author of the original novel, Gaston Leroux. Be warned, though, that this is not a traditional musical, so if you’re looking for light, happy, and easy, you might want to start with Music Man, Oklahoma, or Aladdin. Otherwise, go see the live production of Phantom and lose yourself in the music of the night!