×

The Phantom Of The Opera

The London audiences aren't wrong. "The Phantom Of The Opera" is romantic musical theater hokum in the grand manner - hokum cordon blue - and it justifies the feverish buildup that has given it a $16,500,000 advance. It's good for a Broadway run of several years.

With:
Phantom of the Opera - Michael Crawford
Christine Daae - Sarah Brightman (Pattie Cohenour Thursday eves, Saturday Matinee)
Raoul, Vicomte de Chagny - Steve Barton
Carlotta Guidicelli - Judy Kaye
Monsieur Andre - Cris Groenendaal
Monsieur Firmin - Nicholas Wyman
Madame Giry - Leila Martin
Ubaldo Piangi - David Romano
Meg Giry - Elisa Heinsohn
Monsieur Reyer - Peter Kevoian
Auctioneer - Richard Warren Pugh
Porter/Marksman - Jeff Keller
Monsieur Lefevre - Kenneth Waller
Joseph Buquet - Phillip Steele
Don Attilio/Passarino - George Lee Andrews
Slave Master - Luis Perez
Flunky/Stagehand - Barry McNabb
Policeman - Charles Rule
Pages - Olga Talyn, Candace Rogers-Adler
Porter/Fireman - William Scott Brown
Wardrobe Mistress - Mary Leigh Stahl
Princess - Rebecca Luker
Madame Firmin - Beth McVey
Innkeeper's Wife - Jan Horvath
Ballet Chorus - Irene Cho, Nicole Fosse, Lisa Lockwood, Lori MacPherson, Dodie Pettit, Catherine Ulissy
Ballet Swing - Denny Berry
Swings - Frank Mastrone, Aba Quezada

The London audiences aren’t wrong. “The Phantom Of The Opera” is romantic musical theater hokum in the grand manner – hokum cordon blue – and it justifies the feverish buildup that has given it a $16,500,000 advance. It’s good for a Broadway run of several years.

Andrew Lloyd Webber has taken the Gaston Leroux potboiler about the love-crazed disfigured genius who lives in the catacombs of the Paris Opera and fashioned it into a thrilling and musically rich mass legit entertainment. The 19th century period spectacle, scenic legerdemain, soaring melodies and exceptional singing are at the service of an involving and piquantly offbeat love story, all of it staged with brilliantly organized flair by Harold Prince, back in top form.

Given the near-hysterical anticipation aroused by this latest, big bertha West End musical smash, “it’s not that good” will probably become a familiar refrain along the byways of Broadway. No, it’s not “South Pacific” or “Fiddler On The Roof,” but it’s a major achievement in the musical theater and a high water mark in the phenomenal Lloyd Webber career. The bonus this time is that the glittering technical wizardry and pop-opera music have been wedded to a strong story and characters.

Chill-seekers may be disappointed, because this is a romantic “Phantom” in which the title hero is a sensitive artist ravaged by unrequited love, and not a rampaging early slasher. Lloyd Webber and co-librettist Richard Stilgoe have put the emphasis on the beauty-and-the-beast theme and develop an affecting yarn in the scarred recluse’s obsessive passion for the beautiful opera chorine.

The show has a flashback structure, opening in 1911 with an eerily effective auction of props from the Paris Opera and jumping back to the 1881 melodramatics when the supernaturally gifted dungeon-dweller terrorized the theater. The period glitz is an eye-popping delight, with the onstage and backstage atmosphere artfully heightened but not cartooned.

The authors lay in the exposition smoothly, then move into high gear as the masked man of mystery whisks the entranced actress to his dungeon lair at the nether side of an underground lake beneath the opera house. The trip’s a visceral pip as he ferries her to his cave across the lake lit by scores of candles rising from the water, to the throbbing music of the title song.

Few if any “Phantom” -goers will remain unhooked as title roler Michael Crawford seduces the dazed heroine in his candelabra-lit hideout to the propulsive chords of “The Music Of The Night,” a patented Lloyd Webber rouser and a model of dramatic musical construction.

That’s just one among an abundance of big-melody tunes in a great score that evokes period Hollywood film music, opera grand and light, operetta and especially pop Broadway of the classic era. The love ballad for heroine Christine and her aristocratic swain, “All I Ask Of You,” is irresistible and worthy of comparison to Rodgers and Kern.

Not the least of the show’s pleasures is the pride of place it gives to vocalizing. No musical in years has had better singing. Sarah Brightman’s voice gets a through workout, and while it may not be of premier operatic quality, it’s a lovely lyric soprano ideally suited to Lloyd Webber’s clever music.

Crawford shows himself to be an exceptional singing actor who knows how to vary his sound for dramatic effect. And Judy Kaye, playing the large-ego diva whom Brightman supplants, sings the opera parodies with pleasing skill. The choral singing is clear and full-bodied.

The show’s stagecraft is sensational, with scenic transitions that dazzle with their speed and ingenuity. Maria Bjornson’s designs are marvels of period atmospheric detail and technical savvy (that Tony can be bestowed right now), and the costumes are grandly extravagant fun.

From Prince, it’s the best show business staging since “Follies,” always theatrical but in tight focus for the key moments of dramatic import.

Playing behind a mask, Crawford makes a fully developed human figure of the larger-than-life mad genius. His climactic scene with Brightman, as he sobs at her expression of love, has real pathos and moves the audience.

Brightman, as noted, is an exceptional singer and a competent if less than overpowering acting personality. Judy Kaye makes and expert pro’s contribution as singer and comic actress. Steve Barton sings robustly and acts forcefully as the straight-arrow winner of the heroine’s heart. Leila Martin, Cris Groenendaal and Nicholas Wyman supply accomplished performances in the secondary roles.

If it can’t be said that “Phantom” advances the artistic frontier of the musical theater, it’s more than welcome as a gloriously old fashioned romantic musical spectacle. And while Lloyd Webber may not be the most original of composers, he’s an undeniably great showman with a seemingly unerring sense of popular taste. He’s making musical theater history, and “Phantom” will be making musical theater money for years to come.

Popular on Variety

The Phantom Of The Opera

Majestic Theater, N.Y. $50 top.

Production: Cameron Mackintosh and Really Useful Theater Co., Inc. presentation of a musical drama in two acts, with book by Richard Stilgoe and Andrew Lloyd Webber, lyrics by Stilgoe. Staged by Harold Prince.

Creative: Musical staging and choreography, Gillian Lynne. Production design, Maria Bjornson; lighting, Andrew Bridge; sound, Martin Leva; musical supervision and direction, David Caddick; orchestrations, David Cullen, Lloyd Webber; casting, Johnson-Liff & Zerman; general manager, Allan Williams; technical production manager, John H. Paull 3d; stage manager, Mitchell Lemsky; publicity, Fred Nathan Assocs. Opened Jan. 26, '88.
Songs: "Think Of Me," "Angel Of Music," "Little Lotte/The Mirror," "The Phantom Of The Opera," "The Music Of The Night," "I Remember/Stranger Than You Dream It," "Magical Lasso," "Notes/Prima Donna," "Poor Fool, He Makes Me Laugh," "Why Have You Brought Me Here/Raoul, I've Been There," "All I Ask Of You," "All I Ask Of You" (reprise), "Masquerade/Why So Silent," "Notes/Twisted Every Way," "Wishing You Were Somehow Here Again," " Wandering Child/Bravo, Bravo," "The Point Of No Return," "Down Once More/Track Down This Murderer."

Cast: Phantom of the Opera - Michael Crawford
Christine Daae - Sarah Brightman (Pattie Cohenour Thursday eves, Saturday Matinee)
Raoul, Vicomte de Chagny - Steve Barton
Carlotta Guidicelli - Judy Kaye
Monsieur Andre - Cris Groenendaal
Monsieur Firmin - Nicholas Wyman
Madame Giry - Leila Martin
Ubaldo Piangi - David Romano
Meg Giry - Elisa Heinsohn
Monsieur Reyer - Peter Kevoian
Auctioneer - Richard Warren Pugh
Porter/Marksman - Jeff Keller
Monsieur Lefevre - Kenneth Waller
Joseph Buquet - Phillip Steele
Don Attilio/Passarino - George Lee Andrews
Slave Master - Luis Perez
Flunky/Stagehand - Barry McNabb
Policeman - Charles Rule
Pages - Olga Talyn, Candace Rogers-Adler
Porter/Fireman - William Scott Brown
Wardrobe Mistress - Mary Leigh Stahl
Princess - Rebecca Luker
Madame Firmin - Beth McVey
Innkeeper's Wife - Jan Horvath
Ballet Chorus - Irene Cho, Nicole Fosse, Lisa Lockwood, Lori MacPherson, Dodie Pettit, Catherine Ulissy
Ballet Swing - Denny Berry
Swings - Frank Mastrone, Aba Quezada

More Legit

  • The Inheritance review

    'The Inheritance' Announces Broadway Cast

    After an Olivier-winning run in London, “The Inheritance” is gearing up for its Broadway debut. The two-part epic has set the cast for its transfer from the West End to the Great White Way. John Benjamin Hickey, Paul Hilton, Samuel H. Levine, Andrew Burnap and Kyle Soller are among the cast members reprising their roles [...]

  • Patrick Page, Amber Grey, Eva Noblezada,

    'Hadestown' Announces 2020 National Tour

    ‘Hadestown’, the eight-time Tony award winning Broadway musical, is set for a national tour in 2020. The show will stop in more than 30 cities including Denver, Houston, Los Angeles, Minneapolis, New Orleans, and more. The musical is a stage adaptation of the Greek myths of Orpheus and Eurydice and King Hades and his wife [...]

  • Jake Gyllenhaal

    Listen: Why Jake Gyllenhaal Is His 'Best Self' in the Theater

    Looking for the best possible version of Jake Gyllenhaal? You’ll find it onstage, according to the actor himself. Listen to this week’s podcast below: “I am my best self when I’m working in the theater,” Gyllenhaal said on the latest episode Stagecraft, Variety’s theater podcast, on which he appeared with Carrie Cracknell, the director of [...]

  • Photo: Jeremy Daniel

    'The Lightning Thief: The Percy Jackson Musical' Gets Broadway Run

    “The Lightning Thief: The Percy Jackson Musical” is Broadway bound. The musical adaptation of the franchise about a teenager who discovers he’s the son of Poseidon hits the Great White Way on Sept. 20 ahead of an Oct. 16 opening night. It comes on the heels of an extensive, nationwide tour that took the show [...]

  • Tom Sturridge Jake Gyllenhaal

    Jake Gyllenhaal and Tom Sturridge Celebrate 'Sea Wall/A Life' With Star-Studded Opening Night

    A star-studded audience looked on as Jake Gyllenhaal and Tom Sturridge returned to the stage for their double monologue performance in “Sea Wall/A Life.” Theater-goers and celebs including Anne Hathaway, Tom Hiddleston and John Mulaney gathered in Manhattan’s Hudson Theatre for opening night, celebrating a show tackling grief, birth and death through the eyes of [...]

  • Bat Out of Hell review

    Off Broadway Review: 'Bat Out of Hell'

    No one has ever accused Jim Steinman of subtlety. The composer behind Meat Loaf’s 1977 “Bat Out of Hell” (more than 43 million albums sold worldwide) and 1993’s “Bat Out of Hell II: Back into Hell” (five and six times platinum in the UK and US) has forever trafficked in a boldly theatrical brand of [...]

More From Our Brands

Access exclusive content