The Phantom of the Opera North America Tour (Review)

Today I saw the North American tour of The Phantom of the Opera at Keller Auditorium.  As most of you know, I am a diehard Phantom fan having seen the production numerous times in Portland, London, and Vegas (on that note, let us take a moment of silence about the closing of the Vegas production).

This review will only focus on obvious changes to the story.  I have decided, however, not to comment on the cast or their ability to act and sing. Those judgements can be made by you.

What I witnessed today is the same music, new setting and costumes, and revised flavor of the entire production.  How do I feel?  Well how about, "Twisted every way, what answer can I give?"

If you have not seen it yet, be forewarned that what I'm about to write are spoilers.  Perhaps you'll thank me that I have lessened the shock factor for you beforehand. I will admit that the major changes to the sets add an overall improvement -- for the most part. The candelabras coming up from the floor are no more, but the dry ice continues to crawl across the stage floor as the Phantom's boat glides for a very short distance. 

However, it's the changes to the choreographing that strips away the old and leaves a rather dull and lifeless taste for me in this new version.  Perhaps I could blame it on my mood, or the sinus headache I nursed from Box 4 due to the high humidity.  All I know, is that the beloved emotions and tears I usually shed during the stage play were non-existent.  My eyes did not water, and my emotions remained for the most part unmoved, except for my occasional jaw-dropping episodes of shock.

What are the differences?  Well, here are a few quick highlights on what to expect.

1.  The most beloved of numbers, The Music of the Night, is very different from the original.  Cast away your memories of the Phantom putting his arm around Christine and swaying her back and forth in sweet intoxication.  Forget former scenes of them coming close as if they are about to kiss and swiftly pulling away. Their physical interaction and sensual attraction has vastly change, with a new act of the Phantom blindfolding Christine. At the end of the song, the mannequin bride that causes Christine to faint in his arms has disappeared. She is wide awake as he picks her up and walks her to his bed, lays her down, and finishes the song. Why she peacefully falls asleep, I'm not quite sure.

2.  Christine awakens but does not remove the Phantom's mask to see who is behind it.  Instead, he is off by himself, removes the mask, and picks up a handkerchief to dab his face. Hum, where did they get that idea? ("Taking his handkerchief from his pocket, he took the folded white linen and pressed it against his right cheek..." Quote from The Phantom of Valletta). When Christine awakens she sees his deformity. The Phantom rants as before, but no longer with the tearful emotion crawling on the floor. Not sure why he still calls her a "viper" and "this is what you wanted to see" when she wasn't responsible for stripping away the mask in the first place. 

3.  Masquerade - New costumes, improved set.  If you enjoyed the former quirky costumes in the older version, they have been replaced.  Raoul and Christine look basically the same, but Christine's dress is not as spectacular.  Also, be prepared to see the Phantom arrive in a totally different outfit.  He is dressed similar to the 2004 Movie outfit that Gerard Butler wore. The new set, however, is eye-catching and mesmerizing with mirrors.

4.  "Wandering Child" takes on a new direction when Christine finishes her song. The Phantom and Raoul actually get into a physical altercation, i.e. pushing, shoving, falling, fists flying, etc. The Phantom continues to throw his fireballs (even more impressive) as Raoul moves about the stage. Kiss goodbye the Phantom's fedora.

5.  The final lair scene is odd.  It opens with the Phantom finishing to dress Christine in the wedding dress. Without the bride in MOTN, those who watch it for the first time will be scratching their heads as to what is going on.  He is physically cruel to Christine when Raoul arrives on the scene. He puts her in a hold that looks as if he would snap her neck, then releases her and keeps her captive by grabbing her by the throat, and eventually throws her on the bed and pins her there while he's singing his demands. I found these changes bothersome.

6.  By the time the kiss comes, the "pitiful creature of darkness" has acted as a very dark character indeed.  It leaves little hope that Christine's kiss will redeem him in any fashion, and there is little reluctance or sadness on her departure from the lair with Raoul. Afterward, he is left crying over scattered musical sheets on the stage floor rather than the left-behind bridal veil that symbolizes love lost.

7.  His disappearance from the chair is no more, but alas he does disappear into thin air and Meg still holds the mask up as the curtain goes down.

There are other changes that I have not touched upon and will leave for my readers to discover on their own.  You will note that the Phantom does have more presence as he sneaks about in the background in various scenes.

The Lost Message?

For some fans these changes will be unsettling while for others no big deal.  The audience at Keller Auditorium cheered, whistled, and clapped their approval during the bows, so for the newer generations or those who have never seen the play, it is apparently well received.

What did I like about it? The improved sets in spite of the missing rising candelabras and extended boat scene. 

What I didn't like about it? The changes to iconic scenes that dismiss the intrigue that Christine feels for the Phantom and his yearning in return to have her as his own.  His bid to seduce her into his world (as the dictionary would say, "to win over, attract, or lure") is gone and replaced by the darker treatment and lack of attraction between the characters.

As Phantom Vegas once advertised their show, "Be Seduced," I am sad to say that the North American Tour did not seduce me at all.

Vicki

What Makes a Great On-Stage Phantom?

Wow, that question just popped into my head, as I look forward to having Peter Karrie on All Things Phantom on September 10, 2011 @ 12 Noon, PST. His performances have earned him the title of “The World’s Most Popular Phantom” on two separate occasions, and we're very excited to talk with him about his portrayal of the role.

However, the question remains open to you, my readers. What makes a great on-stage Phantom in your opinion? We can think of many greats from the past who have played the role from Michael Crawford to John Owen Jones, currently in the production at Her Majesty's Theatre.

As I've wandered the Internet and various forums, you often see posts from individuals who talk about their favorites. Each person seems to have their own idea of what makes a great Phantom and why that individual's performance touched them above others.

Of course, none of us have probably seen every single man on stage who has worn the mask around the world in the various productions. In case you are curious who has worn the mask in the past 25 years, there's a good thread on Deserted Phans, a forum for POTO, attempting to list all who have played the iconic Opera Ghost. CLICK HERE

Out of the ones we see on stage, each fan seems to pick one performer that moves them the most in their performance. Out of the four Phantom's I've seen perform the role, Scott Davies, is my favorite. I wish I could say, I've seen Peter, but I have not.

So what are the qualities of a great stage Phantom? Where in the production do we judge the pinnacle of their performance to form an opinion? Music of the Night? Point of No Return? Final lair scene?

Do we take into account the vocals of the performer? How about his nuances of the portrayal of the Phantom himself -- like the way he moves across the stage, or uses his hands and fingers? How about the acting and his reactions such as his cries, his tears, his rage, his parting words of love to Christine? There are so many variances, it's really hard to point to one single thing that makes a great Phantom. Frankly, I think it's whatever touches you as an individual in the whole of the performance itself.

The character of the Phantom is portrayed differently from actor to actor. Always the same lines, usually the same choreography, but differences of interpretation as to the personality of the individual in the black cape. One may appear more menacing and evil than another in the final lair scene or another perhaps controlling, frustrated, or broken.

In the Music of the Night, seduction, passion, and chemistry between Christine and the Phantom vary too. How many have you watched them glide their hands across her body and sway her in a certain way that gives you that craving to be embraced by that bad-boy? I find it quite fascinating, because some people are more prone to the "sexy" Phantoms rather than the "dangerous" psychopath that has you in his clutches. Ah, such sweet intoxication!

I guess whatever floats your gondola is the one you'll choose as your favorite great on-stage Phantom.

Anyway, tune in if you can to hear Peter Karrie. We'll promise to pick his brain about his interpretation of the Phantom of the Opera and perhaps learn why he was chosen as the favorite of many.

If you want, comments are open this time. Feel free to post what makes a great on-stage Phantom in your eyes.

Regards,
The Phantom's Student aka Vicki

Enjoy Peter in the Music of the Night:

Music

What is music? Where does it come from? How is it inspired? The word music itself is a Greek word derived from “mousa” or muse. In Greek mythology, muses were believed to be a sisterhood of goddesses or spirits, who embodied the arts and inspired creation in song, stage, writing, music, and dance.

Music has the innate power to touch the depths of our souls and cause emotion to well up inside of us. It changes the way we feel and behave. It brings us joy, exuberant feelings, sadness, melancholy, inspiration, motivation, rest, beauty, and even healing.

The Bible speaks of the power of music in I Samuel 16:23, “And whenever the evil spirit from God came upon Saul, David took the lyre and played it with his hand, and Saul would be relieved and feel better, and the evil spirit would depart from him.” Have you ever heard the statement “music has charms to soothe the savage beast?” Perhaps that is why the Phantom was given the gift of being a musical genius - to soothe the savage beast within him.

The Phantom understands the power of his gift of music, and he uses it to his advantage. Music is his tool to touch Christine’s mind and soul. He entices her with it, seduces her with it, and bids her into his world with it, entices her to give into the power of his music. He wants her to be one with him in music. He desires her alone to make his song take flight and help him make the music of the night. He gives to Christine the best of who he is - his music. She confesses how his music has touched her to Raoul on the rooftop.

Music is created from the heart of man and is molded by his emotion, and such was the score the Phantom writes in Don Juan Triumphant (which we will discuss in another post). Andrew Lloyd Webber uses music to touch us with the story of the Phantom of the Opera, by composing a powerful and haunting musical score to tell his story. Frankly, I think it’s genius that the genius of music, the Phantom, has been immortalized for us in a musical!

Why the violin picture? In Leroux's original work, three individuals play the violin. Christine Daae's father is an excellent violinist. Gustav Daae taught Raoul to play the violin as a child; and, of course, the Opera Ghost played his "enchanted violin."

How does music influence your life? What symbols do you see in the music in the Phantom's life? Have you ever been inspired or moved by the music in the Phantom of the Opera?

Sincerely,
The Phantom's Student

Order Lessons From the Phantom of the Opera in Paperback Here