The Phantom of the Opera remains as powerful as the first time round
Photo Alastair Muir.
Lyrics by Charles Hart and Richard Stilgoe, Book by Andreaw Lloyd Webber and Richard Stilgoe, Based on the novel by Gaston Leroux A Broadway Across Canada presentation of a Cameron Mackintosh production, in association with the Really Useful Group.
In the three decades since Andrew Lloyd Webber’s blockbuster musical began breaking records in terms of box office receipts, audience numbers, awards and longevity — Phantom officially became Broadway’s longest-running showing when it topped 100,000 performances in 2012 — the show has thrilled millions around the globe.
Even if you were one of those millions who saw the show when it first opened in London’s West End in 1986, on Broadway in 1988 or in Toronto in 1989, the excitement engendered by Cameron Mackintosh’s new production of the gothic romance, complete with a collection of new special effects and pyrotechnics, remains as powerful as the spectacular first time around.
The good news is that such key aspects as the late Maria Björnson’s costume designs have been retained. As for the set, the infamous chandelier and the gondola in the Phantom’s subterranean lair are still there. There are some interesting additions, such as the magically appearing steps into the Phantom’s cavern and the clever use of the central cylinder to change scene locations.
There is some difference in approach in downplaying the archetype and attempting to insert greater realism. While this is not always successful, the fine performances of the three leads in the Broadway Across Canada production currently at the NAC deliver all the humanity needed to balance the spectacle.
In the title role, Derrick Davis delivers a beautifully sung characterization, injected with pathos. It is easy to understand why Christine, the ingénue singer who is his obsession, overcomes her revulsion at his grotesque appearance and reaches out to him.
As Christine, Eva Tavares charms both through her performance and her soaring singing voice. As her suitor, Raoul, Jordan Craig fills the third point of the triangle quite effectively as a singer but fades before the power of Davis’ mesmerizing delivery.
Among the other members of the 50-plus cast, Trista Moldovan is both funny and effective as the diva in Webber’s send-up of grand opera tradition and Kristie Dale Sanders delivers workmanlike presentation of ballet mistress Madame Giry.
The production is at its strongest during solos and duets and at its weakest in the group scenes when poor diction and unnecessarily loud music drown out lyrics and spoken words. It is a good thing that audiences are so familiar with the tale and many of the songs that they fill in the gaps. It seems that for 30 years, the phantom of the opera has been there inside each audience member’s mind.
The BAC production of The Phantom of the Opera continues at the National Arts Centre to October 29.
Reviewed by Iris Winston. Photo by Alastair Muir
Director: Laurence Connor
Musical director: Jamie Johns
Choreographer: Scott Ambler
Set: Paul Brown
Sound: Mick Potter
Lighting: Paule Constable
Video and projections: Nina Dunn
Costumes: Maria Björnson
Cast:
Phantom………………………………………Derrick Davis
Christine………………………………………Eva Tavares
Raoul………………………………………….Jordan Craig
Carlotta……………………………………….Trista Moldovan
- Firmin……………………………………..David Benoit
- André……………………………………..Edward Staudenmayer
Mme. Giry……………………………………Kristie Dale Sanders
Ubaldo Piangi………………………………..Phumzile Sojola.
Meg Giry…………………………………….Emily Ramirez
Auctioneer……………………………………Mark Emerson/ Edward Juvier
Porter…………………………………………Constantine Pappas
- LeFevre et al………………………………Jay Lusteck/Edward Juvier/Dan Debenport
- Reyer………………………………………Robert Anthony Jones
Joseph Buquet…………………………………Victor Wallace
Wardrobe mistress…………………………….Tynan Davis
Princess………………………………………..Jordan Ensign. Emma Grimsley
Wild woman…………………………………..Sarah Mossman
Slave master…………………………………..Ted Keener/Adam Rogers
- Firmin……………………………………..Carmen Vass
Jeweler………………………………………..Stephen Mitchell Brown
Hairdresser……………………………………Travis Taylor
Don Attilio…………………………………….Adam Bashian
Policeman……………………………………..Herb Porter
Ballet chorus: McKenna Birmingham, Julie Eicher, Daniela Filippone, Abigail Mentzer, Kate Anne Mueller, Ally Taylor Sacks
Swings: Daniella Dalli, Dan Debenport, Sarah DeBiase, Edward Juvier, Adryan Moorefield (assistant dance captain), Lily Rose Peck (dance captain), Jessica Wagner
Orchestra:
Director………………………………………Jamie Johns
Assist director/conductor……………………Ruth Kwan
Violin……………………………………….Garry Ianco, Maria Nenoiu, Jean Hee Lee
Keyboards………………………………Michael Duff, Elaine Davidson, Timothy Splain
Reeds……………………Mike Tremblay, Mike Mullin, Shauna McDonald, Ben Glossop
Horn…………………………………………Nigel Bell
Cello…………………………………………Peter Rapson
Viola…………………………………………Sarah Ross
Bass………………………………………….Be de Toit