Monday, October 20, 1997
Gorgeous dark ‘Phantom’ will leave you spellbound, mystified
THEATER Showy special effects, haunting melodies combine
to create a thrilling experience
By Kristi Nakamura
Daily Bruin Contributor
Lights that curiously flash on and off by themselves.
"Let your mind start a journey through a strange, new
world!"
Footsteps heard in the hallways when there is no one else
around.
"Leave all thoughts of the world you knew before!"
An ethereal woman in 1940s dress who glides through the balcony
and staircases singing after the patrons have left.
"Let your soul take you where you long to be!"
The Pantages Theater is no stranger to mysterious and ghostly
occurrences. In addition to the spirits that have made the theater
their home, Andrew Lloyd Webber’s "The Phantom of the Opera" will
haunt the Pantages for the next two-and-one-half months.
Claiming status as the most successful show in Los Angeles
history, the second national "Phantom of the Opera" touring company
does not disappoint.
Then again, with Webber’s passionately evocative score, the
elaborate scenery and costuming, the timeless love story and the
expensive special effects, there is no way any decently funded
performance of "Phantom" could ever be anything but
extraordinary.
"Phantom of the Opera" is one of the elite musicals of our time,
like "Cats," "Les Miserables" and "Miss Saigon" that are built atop
such high budgets that if audiences are not drawn in my the
theatrical merits of the work they will surely be drawn in by the
high-caliber effects.
Blinding flashes of white light, dark moving catwalks, a misty
make-shift lake complete with moving boat, and bursts of orange
flame so hot they can be felt in the audience are only a few of the
technical effects that help create the dark magical world of the
"Phantom of the Opera."
Complex set design also lends itself to the impressive scale of
the production. The show boasts a 1.5 ton staircase, six automated
candelabra and a 1,000-pound, 10-foot tall chandelier.
There is no denying the grandeur of the moment when the
chandelier rises from the auction house floor to the reverberations
of the organ playing the overture. The entire stage is transported
back in time to the old Paris Opera House. The organ music alone is
enough to cause a shiver of anticipation and delight.
When the overture ends, the audience finds itself in the midst
of an opera rehearsal. Patricia Hurd, in the role of Carlotta,
sings a beautiful soprano, but is unconvincing as a prima donna.
Hurd’s comedic touches endear Carlotta to the audience in a way
that detracts from the happiness of Christine taking over the
starring opera roles.
Sandra Joseph plays a charming Christine Daae. Her voice is
exquisite as it grows from that of a nervous chorus girl to a
soprano sensation. However, Joseph lends little depth to Christine
as a character.
The same is true of Lawrence Anderson in the role of Raoul,
Christine’s love interest. Anderson’s voice is warm and soothing as
he croons to Christine, "I’m here, with you, beside you, to guard
you and to guide you," but the character of Raoul is rather
one-dimensional.
The true standouts of this production were Olga Talyn, cast in
the role of Madame Giry, the ballet mistress, and Ron Bohmer as the
Phantom. Talyn was expressive, communicating clearly her control
over the opera house productions and her fear of the Phantom at the
same time. Bohmer brought the Phantom to a new level of humanity
and sensuality.
Bohmer created a Phantom who was complex in a way that allowed
the audience to see the man behind the monster. Bohmer’s portrayal
allowed for pity and sympathy with the Phantom’s emptiness and
pain.
The Phantom was by far the easiest character to relate to in the
whole musical. His honest emotional turmoil and depth made Webber’s
musical increasingly tragic.
This commiseration with the Phantom’s pain gives the "Phantom of
the Opera" a bittersweet ending. While the audience is supposed to
be happy for Christine and Raoul who get to ride off together
singing, "say you’ll share with me, one love, one lifetime," what
is supposed to be felt for the Phantom?
After all, the Phantom has given everything to win the love of
Christine. He trained her voice. He helped her to be the leading
soprano of the Paris Opera. He shared his lair with her. He let her
see his weakness. He gave her his heart.
We can almost forgive the Phantom for the murders he has
committed. They really were only minor characters and with annoying
dispositions at that. Yet, in the end Christine rides off (in the
Phantom’s boat, no less) with pretty-boy Raoul.
The Phantom really receives a tough break at the end of the
musical. He loses his girl, he must flee his home, and it is left
questionable whether he loses his life or not when he disappears
beneath his cape.
In the end, only the Phantom’s mask remains, with a single
spotlight shining on it, held in the hands of Meg, who came with
the mob to kill him.
All that the Phantom has lost is enough to break the heart of
one who might sympathize with him. While the end of the story is
all hearts and flowers for Christine and Raoul, somehow the mind is
drawn back to the deep-rooted agony of the Phantom as his hands
cover his face and he wails into the veil Christine has
dropped.
"You alone can make my soul take flight – it’s over now, the
music of the night."
THEATER: "The Phantom of the Opera" runs through Jan. 4 at the
Pantages Theater, 6233 Hollywood Blvd., in Hollywood. Tickets are
$17-$67 or $17-$72 for holiday performances. For more information,
call (213) 365-3555.
The Really Useful Theatre Company
Ron Bohmer stars as The Phantom in "The Phantom of the
Opera."