The Phantom of the Opera
At what point does a play become "venerable?" The Phantom of the Opera first opened in the West End in 1986 and began its Broadway run in 1988. It is now the Longest Running Show on Broadway, a title that seems to require at least one exclamation point, and possibly a trademark. The score is unmistakable; the opening notes of the overture are surely seared into the collective unconsciousness. The stagecraft is legendary. After twenty-four years, what more could be said?
Chorus girl Christine Daaé (a charming and able Trista Moldovan on the evening I caught the show) is given her big break when prima donna Carlotta Giudicelli (a charismatic Kim Stengel) is spooked by the antics of the "Opera Ghost." Daaé has a mysterious vocal coach, her "Angel of Music," who has been shaping the ingenue into a star. The new patron of the Paris Opera House, the Vicomte de Chagny (Sean MacLaughlin) was a childhood friend of Daaé, and romantic sparks fly between the two. Unfortunately for all, the "Opera Ghost" and Daaé's "Angel of Music" are one and the same, and the pangs of unrequited love our titular Phantom (Tim Martin Gleason) experiences soon puts his gothic psychosis in full bloom.
Andrew Lloyd Webber's score is by far his best work. The music is a rich tapestry of themes and motifs; the twisted dissonance of "Don Juan Triumphant" and the sweet, yearning of "All I Ask of You" are from completely different worlds. Webber ties it all together masterfully. The lyrics, by Charles Hart and Richard Stilgoe are a seamless part of the whole.
The production design is stunning. Masterful mise-en-scène reigns throughout as Maria Björnson treats us to incredibly detailed dioramas. Her costumes are stunning -- they must have a separate eighteen wheeler for the rhinestones alone. Her stage is a shifting, moving world with full dimension. The opening moments of the show, the resurrection of a long-dead Paris Opera House, is more powerful, more stunning than the best CGI Hollywood could offer.
Oh yes, the show has actors, too.
The Phantom of the Opera is a machine, a freight train that does not stop. And therein lies the problem: Any room for invention on the part of the performers is virtually non-existent. It is roughly analogous to a trip through the Pirates of the Caribbean. In fact, the producers could possibly replace the cast with cutting-edge animatronics, thus removing any danger of spontaneity. Understand the reality: With heavy set pieces trundling on and off stage with Swiss-watch precision, the producers do not have the luxury of letting an actor relish in the moment. Lingering onstage for such a breath may result in death or dismemberment. And so the trade off for such exquisite production values is less connection between audience and actor.
The sheer weight of Phantom as "venerable stage musical" must weigh on the performers. How, for instance, is Tim Martin Gleason to ever compete with the unique and unmistakable voice of Michael Crawford? How do you put a stamp on a role that was firmly stamped two decades ago? Perhaps it is unfair to criticize the actors. They are cogs in a well-oiled machine; incredible technicians and talented performers who get the job done.
There is an issue with the miking: The overall volume of the vocals noticeably drops the more people are singing. This is a huge problem during "Prima Donna." The Vicomte de Chagny's plot point-rich counterpoint was completely lost.
The third national tour of The Phantom of the Opera takes its final bow in Hollywood on Halloween after an eighteen year-long run. If you have not seen Phantom, it is worth taking in.
The Phantom of the Opera is performed Tuesdays through Fridays at 8pm, Saturdays at 2pm & 8pm and Sundays at 1pm & 6:30pm through October 31st, 2010.
The Pantages Theatre is located at 6233 Hollywood Blvd. in Hollywood.
Tickets are available at www.BroadwayLA.org or by calling 1-800-982-ARTS(2787), as well as at the Pantages Box Office (6233 Hollywood Blvd) and all Ticketmaster Outlets.