"The granddaddy of epic musicals" - as the program blurb calls it - is here, appropriately at the newly restored Boston Opera House. Even after its enormously successful and hugely publicized eighteen-year run, "The Phantom of the Opera" is still worth seeing for the sheer dynamics of the staging and effects, the gothic story, and the memorable characters.
For the few that have not seen the new movie or the long-running show, never heard any of the hundreds of recordings out there, nor seen a TV version (we can say the story is rather exposed, no?): "Phantom" is based on a 1911 French novel by Gaston Leroux that chronicles a disfigured musical genius's obsession with Christine Daa?©, a young soprano in the Paris Opera House. The result is a tricky love triangle, involving much blood, melodrama, some really high notes and a whole lot of chutzpah. Andrew Lloyd Webber set the tale to music and Charles Hart wrote the lyrics; both have enjoyed tremendous success through the show's popularity.
Part of the challenge of bringing the show to stage is the sheer volume of props, lights, set changes, and tiny details that have to be implemented. Granted, the Boston Opera House is not the Met, but the special effects technicians did a superb job. Transformations from one place to another were silent and subtle yet incredibly effective: we are seemingly transported to the Phantom's lair by magic with smoke, candles, and a dreamlike mist. No corner of the stage remains unused and uncolored; from the lavish staircase in "Masquerade" to "The Music of the Night," lighting and texture illuminate the production and create a pervading sense of mystery.
But Elizabeth Southard's portrayal of Christine is somewhat confusing. Southard has a powerful voice - so powerful, in fact, that it was difficult sometimes to distinguish her intonation from that of Carlotta the Diva. Christine lacked a certain sweetness and naivet?© that the role requires; it seemed that she really belonged in a real opera with such a coloratura background. In Joel Schumacher's 2004 film, Emmy Rossum was appropriately sweet but perhaps too sugary and raw; Southard hit all the right notes (with a beautifully articulated lower range, by the way), but was not subtle enough to warrant belief in her youthfulness and inexperience.
Raoul, Christine's privileged suitor, was well-played Tim Martin Gleason. Raoul is handsome, noble, and determined; however, it is a difficult role to breathe life into precisely because of these classic attributes. Nevertheless, Gleason has a lovely range and the charisma to accompany it: "All I Ask of You" is very pretty, and he manages to remain both sensitive and masculine at the same time.
Carlotta (Kim Stengel) has the capacity to hit mind-altering high notes. It is surprising that she was not the one to shatter the chandelier with those vocal chords. Carlotta and Piangi (John Whitney) provided the often much-needed comic relief.
But the Phantom, played by Gary Mauer, literally rocks the opera house. He carries the entire show, from the beginning distancing himself from the wishy-washy rendition by Gerard Butler that some may have seen in the film. Mauer's Phantom is stalker-like, disturbing, and twisted right down to his gestures and posture. But most importantly, he can hit those high notes like no other. The last scene of confrontation between Phantom, Christine and Raoul is extremely tense, passionate, and downright creepy due to the Phantom's presence, dominance and stage personality. The ending is one of the highlights of the whole production. Rather than romanticizing the character too much - a common mistake, it seems - Mauer allows the part to dig into the depths of pathetic obsession. His songs are still haunting and bravely sung, even though we've heard them a thousand times.
The production is not without its problems, however. One (big) logistical disappointment: for the entirety of the first act we wait for the giant chandelier to crash in a fit of the Phantom's rage. However when the big moment came, the chandelier merely fluttered softly to the stage, landing ever-so-gracefully in the center. Can we say let-down? Of course, nobody expects it to replicate the fiery, glassy explosion in Schumacher's movie version, but a "BOOM" might have done the trick for this hyped-up moment.
"Point of No Return," sung by Phantom and Christine during the second act, was not as effective as it could have been. In the film - despite incomparably weaker vocals and personalities - the movement doubly emphasized the divide and the surreal attraction that the pair had. It was tense, dark, and passionate. Onstage, however, the number seemed uncertain and almost misplaced, albeit beautifully sung. It did not seem to bear the same climax and was one of the few moments where the film was actually more effective, despite MUCH weaker casting.
However, this show is a must-see if one has not already seen it (and no, the movie does not cut it). Appropriately housed in the Opera House, "Phantom" is still a gem not only for the gothic appeal of the title character and the smoky lighting, but also for the apparent timelessness of Andrew Lloyd Webber's musical creation.
